Sentences with phrase «color photographs of the artist»

Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the comprised works, including insightful commentary written by the artist.

In addition, there will be a chance to see Colors of Shadow, a new series of color photographs of the artist's studio, which he designed himself.

Comfortably filling the spacious, irregular proportions of the center's main gallery, the installation is composed of three distinct elements: freestanding abstract sculptures; color photographs of the artist's hands (palms out and partially covered in paint); and black - and - white videos appropriated from vintage films of competitive stone lifters (which is where the pun comes in).

Also available, although not on view, was the photographic edition The Godmother and Mickey's: A color photograph of the artist,

Also included is an essay by David Cohen, details and installation views of the exhibition, color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the works with commentary written by the artist.

Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the works, including commentary by the artist.

Not exact matches

Any artist will tell you that sometimes in art «less is more»; a little doodle of a nude is much more beautiful than a full - color 3 - D photograph of a naked woman.

With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles.

Artists kept playing catch - up as color increasingly swamped popular culture and amateur photography; many came to take their cues from both, and in 1976 Museum of Modern Art photography curator John Szarkowski gave William Eggleston a major solo exhibition for his now - iconic photos combining a snapshot aesthetic with a mastery of the dye imbibition process that «allowed Eggleston to draw attention to color without making it the subject of the photograph,» Rohrbach writes.

In keeping with his then current practice, Warhol took a sequence of Polaroid photographs of the German artist, and the present work results from the distillation of color and contour of one of those images.

A resonant quintet of color photographs by the young artist Jenna Westra currently occupies this postage stamp of a gallery.

New York — Pace and Pace / MacGill Gallery are pleased to inaugurate their representation of British artist Richard Learoyd with an exhibition of his large - scale color and black - and - white photographs made over the last decade.

Credit: Build Better Human Beings, 2012, colored pencil and paper, 11 x 14 in., Collection of Jacob Meehan, Photograph Courtesy Artist and Western Exhibitions.

(Image on top: Muzi Quawson, At the Skatepark, 2001, color photograph, 76 x 101 cm; Courtesy of the Artist and Annet Gelink Gallery)

Shared on the first day of Black History Month, the photograph was taken by 29 - year - old artist Erizku, who has long rewritten Western art historythrough his work to include people of color.

The project began in the summer of 2012 with Elia Alba photographing a group of artists of color: David Antonio Cruz, LaToya Ruby Frazier, Las Hermanas Iglesias (Lisa and Janelle Iglesias), Lina Puerta, and Mickalene Thomas.

«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.

David Hartt: Stray Light presents color photographs, sculptures, and a video installation by Chicago - based Canadian artist David Hartt (b. 1967) reflecting on the iconic headquarters of the Johnson Publishing Company in downtown Chicago.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Death has certainly not diminished the influence, or even, apparently, the output, of Jack Smith, whose color photographs and films have been restored to a luster they never had during the artist's lifetime in a stellar show at Gladstone curated by Neville Wakefield.

Curated by Andrew W. Mellon Post-Doctoral Curatorial Fellow Ellen Tani, highlights of Art and Resolution include a breakout section of large - format color photographs by Israeli artist Adi Nes from the 2012 series The Village, as well as two photographs by Shirin Neshat.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Xaviera Simmons Index Three Composition Four, 2012 Color Photograph Museum Purchase with funds provided by the Acquistion Committee and gift of the Artist 12.30.1

EXHIBITION: Goldschmied & Chiari: Untitled Portraits, Kristen Lorello, 195 Chrystie St # 600A, December 11, 2014 — January 25, 2015 Artists Sara Goldschmied and Eleonora Chiari present a series of photographs of colored vapors, which have been manipulated post-production and printed onto glass mirrors so as to reflect the faces of visitors amidst steaks of color.

IMAGES (from top): Lorraine O'Grady, The First and Last of the Modernists, Diptych 3 Blue (Charles and Michael), 2010, Fujiflex prints, two prints, each 46 3/4 x 37 3/8 inches (118.8 x 94.5 cm), courtesy of the artist and Alexander Gray Associates, New York, © Lorraine O'Grady / Artists Rights Society (ARS), New York; Raqs Media Collective, An Afternoon Unregistered on the Richter Scale, 2011, single - channel video of colored and animated archival photograph, 3:34 minutes, looped, courtesy of the artists and Frith Street Gallery,Artists Rights Society (ARS), New York; Raqs Media Collective, An Afternoon Unregistered on the Richter Scale, 2011, single - channel video of colored and animated archival photograph, 3:34 minutes, looped, courtesy of the artists and Frith Street Gallery,artists and Frith Street Gallery, London

Michael Rosenfeld Gallery, 2001, 36 pages, 8 black and white photographs of the artist, 10 color reproductions, essay by Barbara Cavaliere.

Drawing upon her own recollections of the South, the memory of her friend and mentor, artist Cy Twombly, and their shared past in Virginia, Sally Mann presents a series of color and black - and - white photographs of objects in Twombly's studio.

«Uncomfortable ironies abound in Canadian artist Edward Burtynsky's large color photographs of ravaged natural terrain.

Using space as his raw material, Rousse converts abandoned locations into almost spiritual visions of color and shape, translating his intuitive, instinctual readings of space into masterful images of several «realities»: that of the actual space, abandoned or soon - to - be demolished; the artist's imagined mise - en - scène; and the final photograph, or the reality flattened.

1996 Mixed media installation (hand - painted signs, mounted color photographs, standing metal sign and books from the collection of the artist) Dimensions variable ARG # RUA1996 - 001

left: Walead Beshty, Transparency (Negative)[Kodak NC Color Film: May 8 — May 18, 2008 ORD / LHR LHR / IAD IAD / JFK LGA / DCA DCA / ORD], 2009 Epson Ultrachrome K3 archival ink jet print on Museo Silver Rag Paper right: László Moholy - Nagy, Xanti Schawinsky on a Bauhaus Balcony, late 1920s Photograph February 19 — May 1, 2011 This exhibition of the Los Angeles - based artist Walead Beshty (b. London, 1976) brings together works from the past ten years in a site - specific installation -LSB-...]

Chuck Close's monumental mosaic - like portrait of fellow artist Cindy Sherman and two nearby self - portraits are composed of countless smaller elements that cohere into recognizable faces at a distance but dissolve into randomly colored and textured elements the closer you get to them, similar to the way photographs are printed in newspapers.

Alongside the meticulously composed, large - scale, color images of interiors for which Höfer is known, the exhibition presents photographs from the artist's remarkable new body of work.

Each artist approaches the impossible task of taking on the celestial infinite with very different sensibilities and materials: black and white analog photographs, muted but richly saturated color, collage, charcoal drawings based on negatives and video / performance.

Donald Judd: Cor - ten is an exploration not only of the artist but also of the industrial material itself... ten pages of the book are dedicated to the process of making Cor - ten, accompanied full page close - up photographs that study its color and texture in great detail.

Opening: «Chloe Sells: Under the Sun» at Julie Saul Gallery A photo - based artist who splits her time between London and Botswana, Chloe Sells shoots large - format photographs of African landscapes, which she then manipulates in the darkroom to create richly colored compositions.

A self - described «emotional science project,» Bernadette Mayer's Memory — 1,100 - odd photographs made by shooting a thirty - six - exposure roll of 35 - mm color slide film on each of the thirty - one days of July 1971, accompanied by six - plus hours of diaristic narration that the artist later revised into a book — is one of those conceptual pieces from the 1960s and»70s that have been better known as anecdote than as physical fact.

In this substantial volume, the works of the infamous mid-century French visionary artist, Yves Klein — famed for having been photographed jumping off a wall, «into the void,» with his arms outstretched as he moved rapidly towards the pavement, as well as for having claimed and patented his very own shade of the color blue — are presented alongside paintings by the artist whose work influenced him most profoundly: his mother, the bold abstract painter Marie Raymond (1908 - 1972).

Bathed in a melancholic light, the photographs share characteristics with the color work of the artist and describe a sensual and sorrowful Tokyo.

The Zimbabwean artist Kudzanai Chiurai's large color photographs of menacing African militiamen recall the continent's continuing struggle with colonialism.

Fever by Taiwanese artist Tseng Yu - Chin consists of twenty - one triptych color photographs of children from diverse social, ethnic, and economic backgrounds in New York.

Magdy utilizes an array of classical and unconventional media, from spray paint and colored crayons, to chemically altered film stock, photographs and film footage shot by the artist.

Mame Diarra Niang's «Metropolis Central» series of photographs flattens Johannesburg's urban landscape into arrangements of colored planes, refashioning it into an imaginary, mutable territory that stands in for the artist's peripatetic upbringing.

«Fracture» (4/7 — 7/31), held at the Los Angeles County Museum of Art, included the artist's iconic black - and - white photographs, as well as an installation of new and recent color works.

The artist's wide - ranging iconography samples genres ranging from 11th - century Chinese landscape painting to Cubism, and draws on sources both high tech and mundane: spam emails, emoji, internet memes, newspaper classified ads, her own photographs, coloring book illustrations, fantasy environments, vintage embroidery patterns, and a host of whimsical plant and animal motifs.

The colourful photographs of abstracted forms and planes are reminiscent of Los Angeles - based artist Walead Beshty's Color Curl and Black Curl series of photograms, in which he exposes photographic paper to different coloured lights.

Other significant additions include key works by artists from the 1970s and 1980s who were early practitioners of color photography, such as a group of 27 photographs by William Eggleston, along with pictures by Jo Ann Callis, William Christenberry, Jan Groover, and Barbara Kasten.

The exhibition also featured a group of photographs that contain the kernel of much of her later work: jigsawlike hangings of work by other artists staged against candy - colored backdrops.

And, subtlely, the eyes manufactured for use in Hindu temples arranged by Indian artist Anita Dube «River Disease (Version 2),» a wall piece that could be a depiction of a river, but also looks like a hand or a claw connected in odd fashion with the eyes in Laurie Simmons» «How We See / Edie (Green),» a large color photograph of a woman with eyes painted on her eyelids.