Sentences with phrase «canvas paintings in his show»

Matt Kleberg's «Catacomb Catapult (for Eddie)» is one of four recent oil stick on canvas paintings in his show «Caterwauler» at Hiram Butler Gallery through Aug. 27.

Not exact matches

In the past, this form of painting was only done on the outer walls of houses but Mahlangu is one of the first artists to transfer these traditional designs to canvas, shoes, sculptures, ceramics and other modern mediums, making her a pioneering Ndebele artist and showing that adapting to change is an essential skill in the art worlIn the past, this form of painting was only done on the outer walls of houses but Mahlangu is one of the first artists to transfer these traditional designs to canvas, shoes, sculptures, ceramics and other modern mediums, making her a pioneering Ndebele artist and showing that adapting to change is an essential skill in the art worlin the art world.

It features show quality paint in the factory Bright Coach Maroon color with contrasting Wheat Color Hartz Stayfast canvas top and tan leatherette seats with carpeted rear passenger compartment.

Sunday 10.11.15 - > 5 - 8 pm — Seven Bar & Kitchen in the Funk Zone Santa Barbara — 20 + pieces, never before shown works in acrylic & spray paint on canvas, plexi and recycled materials (& there are 4 limited edition prints available as well).

In her recent show at Sikkema Jenkins in New York, an atonal sound environment accompanied her monochromatic paintings that had acoustic panels attached to the canvaseIn her recent show at Sikkema Jenkins in New York, an atonal sound environment accompanied her monochromatic paintings that had acoustic panels attached to the canvasein New York, an atonal sound environment accompanied her monochromatic paintings that had acoustic panels attached to the canvases.

At the start is the deathly glamour of Stella's Black Paintings — bands in matte enamel, separated by fuzzy pinstripes of nearly bare canvas — which shocked everyone with their dour simplicity when they appeared in a show at the Museum of Modern Art, in 1959.

One canvas painting called «Four Ballerinas» which features ballerinas in a pink dance studio can be seen as a dress, a blazer, a stool and a poster advertising for his fashion show at The Fashion Institute of Technology.

Calandra writes: «Wooden pillars that break up the room reminded me of the stretchers that are often visible in Lauren's paintings by either holding a partially translucent canvas or by being seen when her work shown in the round.

Single - canvas paintings by Twombly shown by Gagosian in New York last summer, sources say, sold for $ 2.5 million each.

Ranging from almost pocket - sized painting to the attention demanding large - scale, 60 x 62 inch canvases, Yossifor's abstract, gestural paintings show thickly applied paint, worked across the canvas in sometimes long, sometimes short strokes.

Each portrait is the same size, and shows the sitter in the same chair against the same background, «yet Hockney's virtuoso paint handling allows their differing personalities to leap off the canvas with warmth and immediacy -LSB-...] offering an intimate snapshot of the LA art world and the people who have crossed the artist's path over the last years.»

In the first show dedicated solely to Hirst's «Kaleidoscope» paintings, Gagosian Gallery exhibited 32 canvases across galleries in Davies Street, London, and Beverly HillIn the first show dedicated solely to Hirst's «Kaleidoscope» paintings, Gagosian Gallery exhibited 32 canvases across galleries in Davies Street, London, and Beverly Hillin Davies Street, London, and Beverly Hills.

Coming across Drexler's paintings singly, or even in solo gallery shows, doesn't prepare you for the chromatic intensity of her canvases, especially the mid-1960s paintings, which were the main focus of the exhibition.

The whereabouts of the painting after the Armory Show is unclear, but in 2005 the work was exhibited in a major Bluemner exhibition that Barbara Haskell organized at the Whitney Museum of American Art in New York, and while the accompanying catalogue indicates that the painting is one of the 1911 — 1912 canvases that Bluemner reworked in 1916 — 1917, it does not identify the earlier painting as the one that was in the Armory Show.

The show also includes works on canvas from the 1989 exhibition Trip - Tics in which Gurrola made his own versions of Philip Guston paintings.

Following «The Great Figure,» a six - person show held in late 2014, this sequel show, mounted in the midst of a steady market demand for figurative painting, brings together a new group of canvases by 15 sought - after artists.

The exhibition features a new series of Boo Saville's colour field paintings, which are shown in dialogue with a number of black and white canvases.

ACQUISITION In early January, the Brooklyn Museum announces the acquisition of its first Beauford Delaney painting, «Untitled (Fang, Crow, and Fruit),» a 1945 oil on canvas still life (shown above), purchased from Michael Rosenfeld Gallery with money from the museum's African American Purchase Fund.

A couple of years ago, after the Jasper Johns «Gray» show at the Metropolitan Museum of Art, I came home and did a couple of more Yves Klein-esque body prints in paint on canvas.

Made between 1961 and 1985, the eight enormous acrylic - on - canvas paintings by Gene Davis in this show - all composed of vertical bands and stripes - testify to the artist's devotion to color.

Ms. Siegel's organization of the show proposes that painting progressed from stretched, rectangular canvases to loosey - goosey off - the - stretcher works and back, culminating in stretched paintings by Elizabeth Murray, Pat Steir and Ron Gorchov, and finally in an unusually incoherent work by Joan Snyder.

In the press release for the Fort Tilden show, MoMAPS1 suggested that Grosse's ambition was to «extend the scope of her painting beyond the borders of the canvas» and declared that her installation projects «evoke the physicality of action painting and earthworks through their gestures and monumentality.»

[pq] Coming across Drexler's paintings singly, or even in solo gallery shows, doesn't prepare you for the chromatic intensity of her canvases.

The show presented a new body of work — formal studies of the female form, including large, expressive line paintings of the body rendered in blue paint on raw canvas — that marked a radical departure from Emin's vernacular up until that moment.

Strategies of Non-Intention: John Cage & artists he collected / Gering / 14 E 63 (new location) / thru 8/31 Lyonel Feininger / Moeller / 35 E 64 / thru 6/27 (extended) Billy Al Bengston / Franklin Parrasch / 53 E 64 (new location) / thru 6/28 Mark Grotjahn / Blum & Poe / 19 E 66 (new in NYC) / thru 6/21 Lynda Barry / Baumgold / 60 E 66 / thru 7/11 Kan Yasuda / Eykyn - Maclean / 23 E 67 / thru 6/27 Horacio Zabala; Eduardo Kac / Faria / 35 E 67 / thru 6/21 Anna Maria Maiolino / Hauser & Wirth / 32 E 69 / thru 6/21 Copied / Roth / 160A E 70 / thru 6/20 Nalini Malani / Asia Society / 725 Park @ 70 / thru 8/3 Distilled: The Small Painting Show / Jacobson / 17 E 71 / thru 7/31 Pierre Soulages / Levy / 909 Madison @ 73 / thru 6/27 Pierre Soulages / Perrotin / 909 Madison @ 73 / thru 6/27 Helen Frankenthaler and David Smith / Starr / 5 E 73 / thru 8/8 Frank Stella / Van Doren Waxter / 23 E 73 / thru 6/27 Carved, Cast, Chrushed, Constructed / Freedman / 25 E 73 / thru 8/22 (extended) Peter Sis curated by Charlotta Kotik / Czech Center / 321 E 73 / thru 9/1 Harmony Korine / Gagosian / 821 Park @ 75 (new, additional location) / thru 7/11 (extended) Jeff Koons / Whitney Museum / Madison @ 75 / thru 10/19 Opening 6/27 Kathleen Kucka / Geranmayeh / 956 Madision @ 76 — floor 3 / thru 6/28 Jasper Johns; Roy Lichtenstein / Castellli / 18 E 77 / thru 6/27 The Shaped Canvas, Revisited / Luxembourg & Dayan / 64 E 77 / thru 7/3 Ed Rusha thru 7/11; Marcel Duchamp thru 8/8 Opening 6/26 / Gagosian / 980 Madison @ 77th Barbara Crane / Higher Pictures / 980 Madison @ 77 / thru 6/21 Journal / Venus Over Manhattan / 980 Madison @ 77 / thru 7/26 Lynn Chadwick / Blain - DiDonna / 981 Madison @ 77 / thru 7/25 James Lee Byars / Werner / 4 E 77 / thru 8/30 Peter Davies / Roitfeld / 5a E 78 / thru 8/10 Eddie Martinez / Half / 43 East 78 / thru 7/15 Nancy Graves / Mitchell - Innes & Nash / 1018 Madison @ 78 / thru 6/27 Jean Dubuffet; Miquel Barcelo / Acquavella / 18 E 79 / thru 9/19 Opening 6/30 Lucien Smith / Skarstedt / 20 E 79 / thru 6/27 Luke Diiorio / Blumenthal / 1045 Madison @ 80 / thru 7/2 Lucas Samaras thru 9/1; Dan Graham with Gunther Vogt thru 11/2; Goya thru 8/3; Etc. / Met Museum / 5th Avenue @ 82nd Italian Futurism thru 9/1, Etc. / Guggenheim / 1071 Fifth Avenue @ 89 The Annual: Redifining Tradition / National Academy / 1083 Fifth Avenue @ 89 / thru 9/14 Sophie Calle / Cooper + Perrotin @ The Episcopal Church of the Heavenly Rest / 2 E 90 / thru 6/25 Mel Bochner thru 9/21; Other Primary Structures thru 8/3; Etc. / Jewish Museum / 1109 5th Avenue @ 92 Museum Starter Kit: Open with Care, Etc. / El Museo del Barrio / 1230 Fifth @ 104 / thru 9/6 Glenn Kaino; When the Stars Begin to Fall; Carrie Mae Weems; Etc. / Studio Museum / 144 W 125 / thru 6/29 If You Build It / No Longer Empty / 115 & St. Nicholas Ave. / thru 8/10 Opening 6/25 (7 - 9 PM) BROOKLYN Parallel Shift / NARS Foundation / 201 46th Street — floor 4, Sunset Park / thru 6/20 Itness: MaDora Frey; Nicola Ginzel; Heide Hatry; Fawn Krieger; Seren Morey / Trestle / 168 7th, Gowanus / thru 7/2 Myles Bennett, Jay Gaskill, Cat Glennon, Enrico Gomez, Eliot Markell, Esther Ruiz and Jeanne Tremel / Ground Floor / 343 5th / thru 6 /?

This selection of paintings from the 1970s shows a range of Minimalist - inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921 - 2009), a Day - Glo round - edged canvas by Ralph Humphrey (1932 - 1990), atmospheric grid - based oil paintings by Warren Rohrer (1927 - 1995), subtly - lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928 - 2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.

Nothing is quite what it seems in Sophia Contemporary Gallery's Im / material: Painting in the Digital Age, a closely curated show including twenty works by eight artists working at the intersection between the immaterial realm of 1s and 0s and the material facts of canvas, ink and paint.

Originated by the Contemporary Arts Museum in Houston and the Museum of Contemporary Art in Denver, this show contains 44 paintings on canvas or metal, four stunning videos and sundry occasionally interesting photographs — all spanning peripatetically from 1969 to the present.

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieceIn addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent piecein the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieces.

(Although another equally powerful line of endeavor developed at the same time, in 1992 - 93: the riotously bright paintings on awning canvas, printed with stripes or flowers, which were first shown as a group only last winter at the Skarstedt Gallery on the Upper East Side.)

Engaging in their complexity and enigmatic in their elusiveness, John Mills shows his most recent large and small scale graphite and oil paintings on canvas with Rosamund Felsen Gallery.

Continuing an anthropomorphic sensibility begun in her dart paintings, Feu à volonté featured two works, Homage to Bob Rauschenberg and Tir de Jasper Johns (both 1961), which Saint Phalle gifted as individual «portraits» to her friends after inviting them to execute the shootings prior to installation.25 Reviewing the show for the New York Herald Tribune, John Ashbery noted the general significance of her intervention, writing, «[She] has invented a new kind of painting that must be finished by the spectator [emphasis mine] with the aid of the rifle bullets fired at the canvas.»

Even critics otherwise sympathetic to advanced painting in the 1950s were made apoplectic by Newman's huge, minimally inflected canvases — fields of monochromatic paint with a vertical stripe or two — and they have provoked vandalism from the time of his first solo show at the Betty Parsons Gallery in 1950.

Guston's painting, in terms of color, line and form, privileges these properties above all else so that what is eventually shown on the canvas is the artist's investigation into the plasticity of image - making.

«Bushwick Open Studios really strives to give every working artist in Bushwick, regardless of their level of experience or success in the art world, an equal opportunity to show their work to a wider public,» said Hitchings, whose works include a series of pastel colored paintings in which forms and figures seem to bleed through the canvas like haunted photographs.

Two of the Frick Collection's monumental Turner paintings — «The Harbor of Dieppe» and «Cologne, the Arrival of a Packet - Boat: Evening» — which were purchased by Henry Clay Frick in 1914 — will be shown for the first time in a Frick exhibition this fall with a third canvas from the Tate depicting Brest, another northern European port.

The exhibition, the artist's fourth show at the gallery, will include approximately 100 small paper mounted on canvas paintings as well as 25 collage constructions and a set of sketches in response to Francisco Goya's drawings including his Los Desastres de la Guerra series, all dating from 2009 to the present.

Despite being the smallest piece in the show, this rectangular amalgamation of oil paint, acrylic paint, household paint, varnish and mixed media collage on canvas (then mounted on board) had that rare feeling of monumentality.

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associationIn Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associationin which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

An adjacent canvas, one of a series of new figurative works in the exhibition, depicts a painting Murillo encountered in a collector's home in Bogotá — showing a young boy selling fish — against Regency - style wallpaper and antique furniture.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

I haven't seen the installation yet, but here's one of my paintings that might be in the show at Outlet: Sharon Butler, Goethe's Color Triangle, 2015, oil on canvas, 16 x 20 inches.

The absolute highlight of the show for me is a large vertical oil on canvas, Summer Glory, painted in 1944.

In the book accompanying «Painting Paintings,» Reed recounts how he became dissatisfied with this particular canvas, which his «friends, colleagues, supporters» urged him to have removed from the show in favor of a different Brushstroke painting, and how he destroyed it after it came back from the Whitney, a decision he regrets because he now thinks that it may have been his «strongest statement» from that timIn the book accompanying «Painting Paintings,» Reed recounts how he became dissatisfied with this particular canvas, which his «friends, colleagues, supporters» urged him to have removed from the show in favor of a different Brushstroke painting, and how he destroyed it after it came back from the Whitney, a decision he regrets because he now thinks that it may have been his «strongest statement» from thPainting Paintings,» Reed recounts how he became dissatisfied with this particular canvas, which his «friends, colleagues, supporters» urged him to have removed from the show in favor of a different Brushstroke painting, and how he destroyed it after it came back from the Whitney, a decision he regrets because he now thinks that it may have been his «strongest statement» from that timin favor of a different Brushstroke painting, and how he destroyed it after it came back from the Whitney, a decision he regrets because he now thinks that it may have been his «strongest statement» from thpainting, and how he destroyed it after it came back from the Whitney, a decision he regrets because he now thinks that it may have been his «strongest statement» from that time.

Dana Miller, the show's curator, describes the effect as being less like paint on canvas than «like cuts in space,» an innovation Ms. Herrera shares with painters like Frank Stella and Ellsworth Kelly (though they became famous for their versions 40 years before hers began to enter important public collections).

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Included in the show is Hirst's large fly painting, «Black Sun» (2004), which was made by gluing thousands of flies» bodies onto a canvas.

In SHARAKU (date unknown), for instance, the length of the title and range of letters used have resulted in one of the more colorful paintings in the show, with multiple different shapes and hues dancing across the canvaIn SHARAKU (date unknown), for instance, the length of the title and range of letters used have resulted in one of the more colorful paintings in the show, with multiple different shapes and hues dancing across the canvain one of the more colorful paintings in the show, with multiple different shapes and hues dancing across the canvain the show, with multiple different shapes and hues dancing across the canvas.

In 1970, Willis was included in the exhibition entitled «Lyrical Abstraction» [1] curated by Larry Aldrich, and the painting from this show, «Wall», 1969, acrylic on canvas, 96 inches by 114 inches, was originally exhibited at the Aldrich Museum of Contemporary Art, in Ridgefield, ConnecticuIn 1970, Willis was included in the exhibition entitled «Lyrical Abstraction» [1] curated by Larry Aldrich, and the painting from this show, «Wall», 1969, acrylic on canvas, 96 inches by 114 inches, was originally exhibited at the Aldrich Museum of Contemporary Art, in Ridgefield, Connecticuin the exhibition entitled «Lyrical Abstraction» [1] curated by Larry Aldrich, and the painting from this show, «Wall», 1969, acrylic on canvas, 96 inches by 114 inches, was originally exhibited at the Aldrich Museum of Contemporary Art, in Ridgefield, Connecticuin Ridgefield, Connecticut.

The one oil on canvas work in the show, Abstraktes Bild 875 - 3 (2001), sings a muted song of representation, buried beneath layers of paint which seem chiselled away in order to reveal something urgent but ultimately lost beneath.