Sentences with phrase «double image paintings»

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Also on display are powerful works by Sidney Geist, Studded Figure (1957), a painted wooden piece; Mary Frank's Reclining Figure (1960); and Alex Katz's Ada Ada (1959), a double image of his muse, his wife Ada.

I think the images and forms from both prints are going to double back into the paintings that are in process in the studio.

MG I was thinking more of how he double exposed film, and then not only overlayed images but sometimes treated the polyester in such a way that it became a transparent fabric on which he could paint both back and front.

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

Double Elvis features two black screen - printed images of the King on a silver - painted ground.

Since the «Skinny Jeans» paintings have multicolored layers underneath, the performance of the paintings is very much about revealing the surface as incidents of light, brushstroke and touch and (sometimes symbols or graphic images) so there is always a double text of «painting the paint» and revealing the image that states it's also an act, a performance of text and subtext.

The paintings» [continue Baselitz's] famous upside - down images while using three main motifs — eagles, dogs and double portraits...»

His «objets peints» which he created since the early 1980s are always Janus - faced - their double identity refers both to the painted image of an object as well as to its real identity.

The new painting is a double portrait that riffs on an image of the model turned actress and jazz musician attending a film premiere.

Abstract elements now and again emerge by way of exaggerated gestures, elongated limbs, the doubling or tripling of images, hints of apparitions, or the intrusion of foreign materials and text into the paint, which satisfy the rich psychological nature of Alexander's work.

Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, «challenge the real world,» and concluding in 1938 — a historically and biographically significant moment just before the outbreak of World War II — the exhibition looks at Magritte's image - making tactics including displacement, doubling, metamorphosis, the «misnaming» of objects, and the representation of visions seen in half - waking states.

Illustrating artists» work in sculpture at multiple scales, Pace's presentation will also include large - scale pieces including Louise Nevelson's white painted aluminum sculpture Double Image (1976), an untitled bronze sculpture from 2016 by Joel Shapiro, and a white chandelier sculpture, Tears for Desdemona (2015) by Fred Wilson.

Displayed in an aerial view, the newspaper's scrupulously hand - drawn international section is open to a full - page banking ad, one for a home furnishings sale and smaller stories about Chinese human rights abuses and the legacy of French colonialism; the open paint can, its circular lid and the angled stick between them create a double - image of a percentage sign — %.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

This presentation of recent works features a selection of «Come Out» paintings, referencing the defense of the Harlem Six, a group of African American teenagers wrongfully accused of murdering a Harlem merchant in 1964; a double neon sculpture with the word «America» face down on the floor; and «Hands» (1996), a silkscreen painting composed of images from the Million Man March.

Boxcar (1967), the earliest painting in the exhibition and arguably its central work, builds on the mirror - image repetition of eight interlocking acrylic - on - canvas units that double as they proceed.

Notable examples include «H.M. 2009,» Kerry Tribe «s double film projection about an epilepsy patient who lost his short - term memory in experimental brain surgery and Nina Berman's arresting images of former Marine sergeant Ty Ziegel, who was severely disfigured in a suicide bombing in Iraq; R.H. Quaytman's series «Distracting Distance,» which riffs on the physical act of perception; and Suzan Frecon's huge minimalist paintings, which embrace the labor intensity of making an art object that is intended to last.

The mirrored extension from which the paintings slides, doubles as backdrop or curtain, reflecting a fractured image of the viewer and thus implicating the viewer's role as audience.

It paints the image of a savvy and modern lifestyle where you simply place your phone on a surface, not minding its position or orientation, and you leave it there, assured that it's charging without even double checking.