Hirst is probably most widely recognized for his so called spot paintings which feature rows of randomly colored
circles painted by his assistants.
Not exact matches
Raza
painted bindu as a dark
circle dissected vertically and horizontally
by two hardly visible white lines.
By comparing the cost, location, length of the school day and quality of the playground, it may seem obvious where to send your kid for a day of finger
painting and
circle time.
beautiful tissue paper flowers on branches via Sandra Brundell hand
painted paper flowers via Oh Happy Day crepe paper and pompom flowers via Cakies tissue paper cherry tree via Pink Stripey Socks large
painted flowers via Se7en crepe paper crocus via eHow
by Craftberry Bush tulle flowers on sticks via Make It Your Own coffee filter cherry blossoms on branches via Aunt Peaches bubble print hydrangeas via A Piece of Rainbow fingerprint hyacinths via Dali's Moustache watercolor
circle flowers via NurtureStore
You can also
paint the bottom of your round containerwith stamps
by finding a can or container in a large
circle and
painting the bottom.
The resulting shift in color perception bestows extra sensitivity to other hues, however, as the researchers demonstrated
by asking subjects to rate the similarity of 15
circles painted in tones of khaki.
To make your own Mini Crayon Wreaths, you will need: (4) 24 count boxes of crayons 2 wooden
circles Chalkboard
paint Paint brush Hot glue gun Ribbon Begin
by painting your wooden
circles with the chalkboard
paint...
I traced various sizes of
circles onto the drop cloth and
painted them in
by hand.
Bullets rattled and fuzzy explosions
painted the tight, labyrinthine corridors red, as said beasties were churned and shredded
by my mighty death - engine of flowing
circle - strafes and hurtling, overhead bounds.
Like a procession of Japanese monks with black robes and shaven heads, the 13 late
paintings by Ad Reinhardt
circle a large white room at David Zwirner Gallery: ascetic, elegant, identical at first glance but subtly different on closer inspection.
For my most recent
paintings this involved beginning
by choosing a basic compositional structure, which is usually a single form, like a
circle, or the repetition of a form — an arch or line.
A squared
circle, subdivided to suggest an approximation of the compositional matrix of his black
paintings, is ringed
by collaged illustrations of monsters and saints that shorthand some of the values embodied
by his photographic typologies.
Resembling a full stop or black hole, Divola's spray
painted circles, almost as lesions upon the interior walls of a derelict abandoned space, add both a lethal mark to a sinister image of utter abandonment, as well as accentuate the significance and weight of a single material gesture enacted
by the artist upon a chosen ground.
Whitten moved to New York in 1960 and remained there following graduation from Cooper Union in 1964, studying the collection of African art owned
by his first art dealer, Allan Stone, and embedding himself both in the downtown NYC
painting scene, and in the uptown
circles of Black artists like Romare Bearden.
Off - site galleries offered strong artist - is - present showings: at Central Fine on Normandy Drive, airbrushed
paintings by Hubert Bush; at Emerson Dorsch, Back On Earth, hatched
by Miami locals, Hugo Montoya and Brandon Opalka; at Locust Projects Daniel Arsham's fierce intervention into the gallery floor, 25 feet wide and up to 3 feet deep, filled with artefacts from the recent past (a bashed - up guitar, a push - button telephone, radios, blown tyres — painstakingly recreated in concentric
circles of volcanic ash, crystal and steel, and all sourced from eBay.
Jirō bows to tradition, too, as with a calligraphic black
painting broken
by a white impasto
circle.
He cited as influences such artists as Clyfford Still, William Baziotes, and Willem de Kooning, but the
circles more strongly recall the top half of a
painting by Adolph Gottlieb.
The energy that imbues these pieces is infectious, and necessarily so: the viewer participates in the work
by physically moving around the gallery:
circling the glass sculptures to watch them sparkle from all angles; gazing up and peering down; approaching the
paintings and inspecting them from sniffing distance, to reveal the secret symbols that construct their artful chaos.
From being greeted
by Katharina Fritsch's disturbingly hip, pony - tailed Händler (Dealer)(2001), with his one cloven - hoof, to Richard Prince's appropriated Marlboro Man photograph Cowboys, to David Hammons's arcing
circle of glued together liquor bottles Untitled, to a huge room - full of Jim Shaw's profoundly weird collection of Thrift Store
Paintings (1970 - ongoing), Unexchangeable does the remarkable task of restating the problem of art's paradoxical position between exclusivity and ordinary life, poised between rarity and abjection.
Mosset, in addition to a series of his infamous «
circle paintings» from the 1960s, will present a large - scale installation of several dozen Toblerones, large cardboard sculptures based on anti-tank structures used
by the Swiss army.
JENNIFER DALTON (detail) Marfa Info Station, 2012 Kiosk:
painted wood, stell and rubber mechanical components, 78 x 84 x 30 inches Drawings: acrylic
paint and pencil on Masa paper, looped into a
circle (2), 80 x 24 inches each Commissioned
by Ballroom Marfa Courtesy of the artist and Winkelman Gallery, New York, NY Photography © Fredrik Nilsen
The Brazilian - born artist works with photography and
painting to make mixed - media artworks that take cues from John Baldessari's renowned dot works
by painting circles and geometric lines over black - and - white photographs of landscapes.
Done
by staining diluted acrylic
paint onto raw, unsized canvas — a technique Mr. Noland learned from Helen Frankenthaler — they consist of concentric
circles in a variety of colors centered on a square canvas.
One fiery
painting reduces the daubs to a
circle of red, yellow, and orange, surrounded
by still more orange.
Likewise, John Baldesssari, a conceptual artist and fellow denizen of Angeleno Americana, is featured in an homage to his home town in National City, in a suite of eight archival photographs, layered over
by hand
painted acrylic
circles.
JENNIFER DALTON Marfa Info Station, 2012 Kiosk:
painted wood, stell and rubber mechanical components, 78 x 84 x 30 inches Drawings: acrylic
paint and pencil on Masa paper, looped into a
circle (2), 80 x 24 inches each Commissioned
by Ballroom Marfa Courtesy of the artist and Winkelman Gallery, New York, NY Photography © Fredrik Nilsen
This exhibition — featuring
paintings, drawings, sculpture and photographs
by several of the artists in James's
circle, as well as a selection of his own manuscripts and letters — elucidates the connections between one of the supreme novelists of his age and the artists and works of art that nourished and inspired his fiction.
Organized
by Suzette Lane McAvoy, the museum's adjunct curator of contemporary art, it presents canvases from every phase, beginning with early, freely
painted concentric
circles and going through the more rigorous chevrons, diamonds, plaids, asymmetricals and stripes of later years to his recent «Mysteries» series, which revisits the concentric
circle motif of his youth.
Here, she brings these
paintings full
circle to Purchase College, where the grand scale and the flatness of the buildings highlight the architectural legacy of the college, designed
by Edward Larrabee Barnes within a rural landscape in the early 1960s and «70s.
The same violet
paint defines two
circles of soft, irregular contours that ring the center, the inner one with a streak of grass green echoed in the outer ring
by a streak of deep purple.
Later he began his Protractor Series (71) of
paintings, in which arcs, sometimes overlapping, within square borders are arranged side -
by - side to produce full and half
circles painted in rings of concentric color.
The
painting is soft but insidious, and further riled
by three opposing walls in muted tones with silhouettes of
circling shark fins.
in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «
Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at
Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland:
Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two
by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «
Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The
Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new
paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»
paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.
These are
circles of canvas, held down on unstretched canvas only
by long drips of
paint, and some are already starting to peel off.
Circled Encerclé is an original, one - of - a-kind abstract
painting signed
by artist Nathalie Gribinski.
«Metamorphosis» (2011), a large abstract
painting hung across from a conference table and chairs in the exhibition, centers on a golden yellow hourglass shape pinched between a pair of pea - green ovals, all surrounded
by radiating concentric
circles and shapes.
Impressed
by the «stain»
paintings of Morris Louis, Noland developed a pictorial language of spare, often bright abstraction centered on concentric
circles and repeated chevrons, motifs that he would utilize throughout his career.
In two recent series, one of rounded - squares that look somewhat like television or computers screens and the other of black concentric
circles that resemble targets, he turns
painting into an industrial project in the manner of photography
by making multiple
painted copies of a single one - off photographic image.
Mother of God's religious undertones are amplified
by a collaged advertisement for the Catholic Review, found in the lower right corner, which reads «An invaluable spiritual road map...» This bit of text draws together the title of the
painting, the maps, and the spiritual allusions of the
circle, yet it also walks a line between sincerity and tongue - in - cheek humor.
There are also lithographs — among them a grey, mandala - like composition, San Francisco Dancers» Workshop Poster (1974), which reminded me of the mystical shapes
painted by Swedish spiritualist Hilma af Klint:
circles and triangles concealing spiritual energy.
Ferren was active in the European avant - garde
circles, and produced
paintings influenced
by the abstract geometry of artists such as Piet Mondrian, Wassily Kandinsky, and Robert Delaunay.
In the 1950s, Noland made his most famous series of works, which included nearly two hundred
paintings of concentric
circles that seemed to float in the center of the canvas, animated
by pure, pulsing color.
One of the keenest appreciations of Von Allen's
painting was written in 2004
by Ruth Kligman, whose expert perspective on his work is loaned further credibility because it comes not only from a fellow artist but one who had moved in the
circles of many of the leading lights of the era, including Jackson Pollock and Willem de Kooning.
The authors consider the
paintings, photographs, drawings, and sculpture produced
by artists in James's
circle, assess how his pictorial aesthetic developed, and discuss why he destroyed so many personal documents and what became of those that survived.
The artworks were printed on aluminum and bronze plaques and their short messages were accompanied
by paintings of Peter Nadin, whose portraits of people attached to Holzer's messages emphasized the emptiness of both life and communication in the digital age.The multimedia extravaganzas of Holzer's later installations, such as the 1989 Guggenheim exhibition, are exemplified
by a 535 - foot running electronic signboard spiraled around the core of Frank Lloyd Wright's architecture, flashing garish lights on the monumental stone benches arranged in a large
circle on the floor below.
Circles left
by tins of
paint and the odd footprint are reminders that these were created on the floor.
Since 2007, Tadasky has reintroduced optical effects
by infusing his atmospheric
circles with brightly colored drips of
paint that activate the surface and create a three - dimensional illusion as though the
circles bulge out of the picture plane.
Jones favors lines,
circles, squares, and ovals formed
by shaped canvases that he carves, cuts, etches, and
paints like a craftsman, while Slater layers the
paint over the surface resulting in images that are never flat, line - driven, or hard - edge.
Like a procession of Japanese monks with black robes and shaven heads, the 13 late
paintings by Ad Reinhardt
circle a large white room at David Zwirner Gallery.
Gregarious social gatherings
painted by Michael Andrews and Ron Kitaj confirm the whiteness and maleness of these painterly
circles which Tate makes a somewhat tokenistic attempt to redress in a rather random - seeming room devoted to the spikey, menacing works of Indian painter FN De Souza, who lived in London in the 1950s and 60s.