Sentences with phrase «direct painting in the show»

By far, this is the most direct painting in the show.

Not exact matches

We need more quality in the striker position and I think Wenger has painted himself into a corner by saying that any forward purchased will not replace but play with Giroud, where is the desire to do better or simply show up when there's a lack of direct competition.

Before taking up film directing, he exhibited his paintings in a number of one - man and group shows, made numerous music videos (for, amongst others, Zucchero, Stéphane Eicher, Princesse Erika) and worked for several record companies (Virgin, EMI, Sony, Polygram).

The painting I saw by Robin Bruch in that group show offered new possibilities by combining geometric forms with rough direct, painterly mark making.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

More than thirty years after her death, the oeuvre of American painter Alice Neel attracts ever greater interest, and seems only ever more relevant: the substantial and moving exhibition of her paintings currently at the Gemeentemuseum in The Hague is the latest indication of this groundswell of attention, including various shows and catalogs in addition to a fine biography by Phoebe Hoban and a biographical film directed by Neel's grandson, Andrew Neel.

The early paintings in this group, from 2011, show a direct connection to the still life paintings in that they are larger versions of the small pieces used to create the oil collages.

That spring she was painting in Ireland on a continuing fellowship from the Ballinglen Arts Foundation and was awarded first place in Direct / Indirect, a juried print show at the Chandler Gallery in Cambridge, and had a solo print show there in the fall.

The installation also includes several images of Annunciation paintings, showing Eija - Liisa's direct engagement of significant art historical works in a contemporary fashion.

Now a new exhibition features previously unseen photographs that he took in the pre-war period — and show a direct link to later paintings, while revealing more about an artist whose work is being rediscovered.

You can see this «failed success» most clearly in «Morro Castle,» the direct antecedent of the black paintings selected by Dorothy Miller for MoMA's «Sixteen Americans» show.

★ BLAKE RAYNE The abstract paintings in this show, an important one for this impressive New York artist, were made with aerosol spray directed at folded, cut and stitched - together canvas.

This show that Stephanie Rosenthal had done at the Haus der Kunst [in Munich, Germany] when she was there, «Black Paintings,» that looked at monochrome, I was directed to this by artist Jennie C. Jones, who I was in conversation with about this at the time.

They invoke images that couldn't be censored, edited from his anger, his direct frustration with the war in Vietnam, the Civil Rights and Women's Rights Movements, and above all, the assassinations of Dr. Martin Luther King, Jr., John F. Kennedy, Robert F. Kennedy, and Malcolm X. I remember Jack and I discussed two paintings in particular in the show: New York Battle Ground, painted in 1967, and the legendary and monumental 9.11.01, painted in 2006.

All of the shows have something in common that can be gleaned from the press release for Painting Forward, which states, «newly relevant positions [for painting] are found by abandoning artifice and irony, and depicting subjects in unadorned and direct waysPainting Forward, which states, «newly relevant positions [for painting] are found by abandoning artifice and irony, and depicting subjects in unadorned and direct wayspainting] are found by abandoning artifice and irony, and depicting subjects in unadorned and direct ways.»

It's not simply the sequel to High Times Hard Times, nor the revision of genealogies traced in the «Provisional Painting» essays, nor the direct extension of ideas explored in «Abstraction Out of Bounds» — though it shares something in common with each of these.2 Though it's not necessary to think of the show in conjunction with anything else at all, it could be interesting to consider it, since I've been pursuing comparisons thus far, as a sequel to one of Rubinstein's poems — for example, his «Some Ways of Looking at «Some Trees»», 3 part of which goes: The artist whose work inspired this experiment once titled a canvas «Contempt of one's work as planning for career.»