Sentences with phrase «canvas works along»

Not exact matches

When she's not busy working the front desk or assisting our medical staff, Logan enjoys playing with her rescue cat, «Sas,» painting on canvas, and biking along the lake.

«Using only palette knives, acrylic paint and canvas, I started on a journey of creating 10 large - scale portraits using the authorized work of National Geographic photographers Cristina Mittermeier and Martin Schoeller, along with renowned environmental photographer Art Wolfe.»

Kass painted her in 1997 in the style of a Warhol «Death and Disaster» work, repeating Nochlin's face a dozen times along a 10 - foot - tall orange canvas.

«Erik den Breejen, the guy who paints images of musicians using lyrics from their songs, presented three small studies on canvas along with some larger work @ St Nicholas Studios.»

Shapeshifters includes a piece by Stella from that period, along with Richard Tuttle's 1967 Red Brown Canvas, a late «60s multipart work by David Novros, and a rarely seen «60s work by the late British artist Jeremy Moon.

«Of Earth and Sky» includes paintings on linen canvas and on wood panel — ranging in size from 54 x 50 inches to as small as 8 x 10 inches — along with a suite of works on paper.

Included in the exhibition are her notebooks which play an important role within the work; along with several canvases in progress that are positioned on trestles.

In the Creation series, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, as the imagery depicts the sequence of events leading to the Fall of Man.

Along with the canvas works, Bridges has explored the use of dark tones on board, a series that he defined as «blanks».

A special presentation of three large works on canvas along with a large - scale ink on paper scroll by Pouran Jinchi from the Tajvid series (2009), represented in the collection of the Herbert F. Johnson Museum of Art at Cornell University and the Museum of Fine Arts, Houston.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

Along with other works painted during the same period, such as Field for Skyes, in the collection of the Hirshhorn Museum and Sculpture Garden, and Clearing, at the Whitney Museum of American Art, Blueberry demonstrates Mitchell's ability to depict space on canvas.

As spacious and sleek as the work itself, this monograph reproduces two sculptures from 2004 and 2005, along with 17 new paintings dating from 2007 and 2008, eight of which consist of a black or white rectangle with a contrasting black, white or colored rectangle placed diagonally on top and extending beyond the boundary of the canvas below.

Whether a strip along the margins, or a bolder field of raw canvas, these «omissions» read rather like windows into the origins of the work.

Marden's early paintings box the viewer into the moment of encounter, offering at most a sliver of spattered canvas along a picture's bottom edge — like a faint crack of light beneath a door — as a whispered invitation to ponder the work's material history and creative context.

Along with his watercolours, Roberts showed works on canvas, particularly self - portraits and images of his first wife Marian, who would be the subject of numerous nude and clothed figure paintings.

Their minimal compositions of a single central field show the influence of both Rothko and Albers, yet these works have an Op quality derived from the contrast of light and dark along the border of the canvas, which may be an influence of Rickey.

Combining oil paint, canvas, and paper with non-traditional materials such as latex rubber, linoleum, straw, leaves, and hair, along with weathered objects salvaged from abandoned farms, she constructs works that occupy a space between painting and sculpture while hinting at transgressions and violence within the domestic setting.

In our Viewing Room: A special presentation of three large works on canvas along with a large - scale ink on paper scroll by Pouran Jinchi from the Tajvid series (2009), represented in the collection of the Herbert F. Johnson Museum of Art at Cornell University and the Museum of Fine Arts, Houston.

In the uniformity and repetition of the shapes, they seem to underline the formality of fixing nature into a stillness, but what unites these works with her more naturalistic landscapes are the deft, confident strokes of paint that seem to arrive effortlessly on the canvas, and their contradiction with the more preciously applied marks that flicker and activate the painting's surface, along with our eye.

After the blockbuster exhibitions in 2017 of the works of decades past, Hockney moved right along to show his newest paintings on hexangonal canvases and mural - size 3D photographic drawings at Pace Gallery in 2018.

Their built - up layers of paint and collage elements make them the most time - consuming works Bradley produces, as does the sculptural, three - dimensional way in which they are painted: on the floor, tacked to the wall, and on the back of the canvas, picking up studio detritus along the way.

Approximately thirty original works on paper and eight oil - on - canvas compositions by Clyfford Still comprise the exhibition, along with sketch - oriented materials, related photographs, and examples of the artist's self - described «interpretive studies» executed in the middle and late 1930s in Pullman, Washington.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

Invited, along with nine other artists, by the Nasher Sculpture Center to create new work at one of 10 sites throughout Dallas, Lowe — whose practice relies heavily on collaboration and community — chose the undulating Vickery Meadows neighborhood as his canvas.

Abstraction dominates, as do canvas and other stretched fabrics, along with an air of studied nonchalance, especially in works by Michael Majerus, Michael Krebber, Blinky Palermo and Reena Spaulings (spots of red wine on a tablecloth — how daring).»

Twombly made this work using an unusual technique: he sat on the shoulders of a friend, who shuttled back and forth along the length of the canvas, thus allowing the artist to create his fluid, continuous lines.

In his Creation series, for example, Furnas» technique integrates wholly with concept, as his method of pouring paint along a grooved surface on the canvas introduces gravity into the work in a physical and literal sense, while the imagery depicts the sequence of events leading to the Fall of Man.

Along with works created on huge raw pieces of canvas, the exhibit included abstract work by the artist, done with ink on mulberry and Japanese paper.

When exhibited, the works are always nailed directly onto the wall, along their top edges; while stored or traveling, the un-stretched canvases are folded into precise sections, creating geometrical creases that evolve over time, enriching the overall composition as the texture of canvas engages with color and line.

Painting with acrylic on raw un-stretched canvas, burlap and linen, Griffa's works are nailed directly to the wall along their top edge.

Included in the MK Gallery Project Space exhibition are her latest series of paintings and drawings In Deed, created since graduating in June 2012, a selection of notebooks which play an important role within the work; along with several canvases in progress positioned on trestles.

Since they joined forces in 2004, the duo have been painting murals all over the world, along with additional works on canvas, paper, installations and film for gallery and museum shows.

This homecoming exhibition is the largest showing of Lee's work in Korea and will feature his signature works — large - scale ballpoint works on canvas and on paper — along with his new oil on canvas works, and will be presented at Gallery Hyundai located at 80 Sagan - dong, Jongno - gu, Seoul.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Unlike Rothko's palette which became increasingly dark toward the end of his life, Still's late works have a lighter, more ethereal feel with areas of raw, unprimed canvas along with white paint.

«Color Field,» Lou's largest sculpture to date, is on view starting this weekend at the Neuberger Museum of Art along with the artist's «Solid Grey» and «Color / White» canvases, two series of woven beaded works.

Das Orgien Mysterien Theater at Massimo De Carlo is structured as a mini retrospective of Hermann Nitsch's work: the artist is presenting a vast series of his signature large canvases spanning from the 1980's to more recent work created specifically for the show along with documentation of the history of Nitsch's performances, immersive installations and vitrines containing objects that are linked to his actions.

There were eight big and nine medium - size dark paintings in Galerie Max Hetzler's Bleibtreustraße location, along with one very large and colorful canvas, a small work on paper executed in colored pencil and crayon, and an artist's book.

Since then, the duo have been painting murals all over the world, along with additional works on canvas, paper and film for gallery and museum shows.

I rolled out as much canvas as possible along my studio floor working flat surface and using mixing bowls to mix various colors.

The recurrent element in Gabriel Vormstein's work is the use of newspaper as the artist's chosen canvas along with classical female figures, which he draws after Egon Schiele's models.

Additional highlights of the evening included Mark Rothko's No. 17, one of the artist's rare «blue» canvases, sold for $ 32,645,000, along with Clyfford Still's PH - 234 (1948), an iconic example of the artist at the height of his career, and one of the rare instances in which one of his works has come to market — sold for $ 28,165,000.

«Clima Estremo» will feature a new body of work consisting of canvases, textiles, works on paper and engravings, along with an installation and a video.

Working in various mediums including oil on canvas, gouache on paper, pen and ink drawings and collage, Ernst, along with Helmut Herzfelde (aka John Heartfield), created numerous satirical collages, using popular printed material, depicting the grotesque and the erotic, in a style which heralded Parisian Surrealism.

Bruce Garrity, Recent Work A large painting, 70 ″ x 58 ″, oil on canvas, this artwork was displayed along two similar sized paintings at 3rd Street Gallery as part of Bruce Garrity «s presentation of his recent paintings this past June.

Complex underlying structures caused the canvases to bulge or reach out along the wall or into the room; a sequence of 12, gradually changing forms was based on the pages of a calendar from which successive pages had been torn; and finally, in work from 1972, the architectonic quality of the paintings was discarded in his Kite Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing through them.

Small works on canvas by Andy Warhol, Sam Francis, and Robert Indiana, along with a color pencil study drawing by Roy Lichtenstein, will be presented alongside Picasso's «Femme».

On display are 35 of his major canvases from 2000 to the present, along with a selection of new works on paper Perez created especially for the exhibition.

My most recent encounter with his works was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I HelpWorks: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Help You?