Sentences with phrase «body of paintings alongside»

On view at 519 and 525 West 19th Street in New York will be the artist's latest body of paintings alongside two murals, made especially for this presentation.

Not exact matches

This first solo presentation of Stevi's work in a public institution brings together recent paintings and drawings alongside a body of new work made especially for the exhibition.

Showcasing paintings and drawings spanning from 1992 to 2017 and demonstrating the singular ambition and dynamism of Saville's work, this exhibition spans five rooms of the Scottish National Gallery of Modern Art and places the artist alongside major new works, installations and photography from five other artists preoccupied with the body, performance, process and materiality: Sara Barker, Christine Borland, Robin Rhode, Markus Schinwald, Catherine Street, and others.

Her husband, who is white and American, frequently appears alongside her, and several of the most beautiful paintings here depicted their bodies intertwined, dancing or making love.

The exhibition provides a unique opportunity to see a significant body of her paintings in the UK alongside some great works by JMW Turner.

Alongside these paintings, a new series of sculptures, minimal arcs in stainless steel and white concrete, including one measuring over 7m long, form part of a body of work titled «Frozen Waves».

A new body of paintings, Rain Maps (2008), is shown alongside a sculptural work Continentals (2008).

Alongside these paintings, a new series of sculptures, cast in stainless steel, including one measuring over 7.5 meters long, form part of a body of work titled «Frozen Waves».

Taken from Stezaker's anatomical nudes series, these works will be shown alongside other works from York's permanent collection that focus on nudity, flesh and the body, including a number of paintings by William Etty (1787 -1849).

Alongside this body of work, the exhibition will also include Wylie's largest painting to - date — a ten - panel snake that wraps around the Upper Room at the gallery, spanning approximately fifteen meters (nearly fifty feet).

The compelling out - of - body video documentation is presented in the gallery alongside the finished paintings.

Work by well - known artists such as Yinka Shonibare, MBE and architects including David Adjaye appear alongside those of lesser - known but equally exciting designers whose garments, carpets, baskets, ceramics, furniture, body arts, wall painting, photographs and sculpture blur the distinction between art and craft.

Alongside the paintings is a pair of enlarged, sculpted tassels, I Am Heraldic and I Am Magenta (both 2018), again with a clean, cartoonish feel, scaled to the body.

The artist presents recent paintings alongside a new body of work created for the exhibition.

The series of paintings made from the artist's clothes feels especially provocative and fresh alongside other bodies of work dating from the 1970s onward.

Unlike previous bodies of work, these paintings have been made sequentially, exploring the use of wax, ink and shellac in varying combinations alongside other media.

Previous exhibitions have included: numerous workshops, performances, talks and tours for children; paintings by Colin Martin alongside a projection installation by Clare Langan; works by Johanna Connor and Gabrielle Byrne, two West Cork - based artists; a collaborative showing of mixed media works by Cork - based artists Sandra Minchin and Chris Hurley; an exhibition of paintings exploring cityscapes and urban scenes; an exhibition of drawings and works on paper by Dutch artist Arno Kramer; a series of video works exploring an interest in the precarious balances that exist between the human body and mind; a selected show by invited curator Sarah Foster, linked to the West Cork Craft and Design Guild's 10th Birthday Celebrations; and much more.

Bringing together painting, sculpture and video from throughout Lichtenstein's career, this exhibition constitutes a key body of work, drawn from ARTIST ROOMS — a collection of international modern and contemporary art, established through the d'Offay Donation in 2008, and jointly owned by Tate and the National Galleries of Scotland — alongside major loans from both institutions and the Roy Lichtenstein Foundation.

This exhibition will present paintings from two bodies of work: the 1986 - 87 series Big Girls / Little Girls, built from imagery with an almost journalistic remove, alongside works from her 1989 Porn Grids, which capture women and men engaged in what the porn industry refers to as «money shots.»

This first solo presentation of Sofia Stevi's work in a public institution brings together recent paintings and drawings alongside a body of new work made especially for the exhibition.