Sentences with phrase «earlier canvas works»

Not exact matches

Promising that the film will be as hyperreal and hallucinatory as his earlier work, Odoul sees the film as «following a subjective point of view and a trajectory, crossing a landscape rather than giving us a broad canvas or attempting to depict the battlefield.»

His early dyed - and - sewn canvas pieces, which sold for $ 450 in the 1960s, now bring $ 200,000, while wood works that sold for $ 450 in 1965 are reaching $ 450,000, and a 1966 installation of the 26 letters of the alphabet, composed of soldered tin, sold at auction to MoMA for $ 1 million.

Built with wood, cardboard, canvas, foam, and various found or store - bought items, these 3 - D works are the physical manifestation of her 2 - D imagery, exuding a comic and clunky theatricality that one might associate with early Claes Oldenburg.

Unlike her early paintings, this small group of works shows West's increasing experiments with more varied compositional patterns and the drama of forceful brushstrokes, usually black against white unprimed canvas.

The whereabouts of the painting after the Armory Show is unclear, but in 2005 the work was exhibited in a major Bluemner exhibition that Barbara Haskell organized at the Whitney Museum of American Art in New York, and while the accompanying catalogue indicates that the painting is one of the 1911 — 1912 canvases that Bluemner reworked in 1916 — 1917, it does not identify the earlier painting as the one that was in the Armory Show.

That year, Stella also exhibited a series of 30 - year - old sketchings he made in Spain in the early 1960s that disclosed how he worked out ideas about shaped canvases.

At the Garboushian Gallery in Beverly Hills Seery showed several large new canvases (that seemed larger due to the gallery's own compressed size) in which recur the saturated color, numinous composition, and graceful but urgent gesturality that drove his earlier work.

As in earlier works drawing is achieved via construction, lines are real, the edges of joined or overlapping parts but the plywood gives the «drawing» more precision, more clarity when compared with lines created in earlier paintings by joining or grouping canvases, which are inherently softer.

At yesterday's press preview, Massimiliano Gioni, the museum's artistic director and co-curator of the ambitious exhibition, recommended that the works be viewed beginning on the second floor where early canvases for which Ofili is best known are on view, and then progressing on to the third and fourth floors.

It has become a commonplace that Stella peaked too early, and that the deep - thinking black paintings and other inexpressive canvases of the 1960s have more virtue than the hulking late works, whose swooping forms seem more pedestrian.

Bacon: We were talking earlier today about how, since the whites in your work are not painted, by you at least, since the canvas comes to you from the manufacturer already primed with that white ground, and then you didn't paint the top, but you painted the bottom half, it functions almost literally like a bank, right?

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

FAITH RINGGOLD, Installation view of «Black Light Series # 10, Flag for the Moon: Die Nigger,» 1967/69 (oil on canvas), was on view in «Faith Ringgold's America: Early Works and Story Quilts» at ACA Galleries in New York.

The Studio Museum in Harlem and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore present an exhibition featuring works from every period in painter Alma Thomas's career, including rarely exhibited watercolors and early abstractions, as well as her signature canvases drawn from a variety of private and public collections.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

Since the early 1980s, Paris - based Bernard Piffaretti has approached the blank canvas with a first mark: a single line that he paints down the center of each work.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Bacon: It seems that even though you experimented in a wide range of ways of working, both early on and maybe even now within the constraints of the medium of drawing, there was nonetheless this tightening of formal parameters, beginning in the mid -»60s when you were able to buy 194 centimeter - wide lengths of canvas.

His early work passed though the styles of impressionism, Orphism, Dada, Surealism, and verbal and visual collagel his later art extended from composition that superimpose linear painted figures upon one another (and, sometimes, several of those on apinted ground), to painting based on pinup nudes and commercial illustrations and, finally, to coarse, heavily textured canvases that depict totems, masks and shields.

Mirrors and canvases specifically made for the exhibition are shown alongside works from the early eighties.

Bordered with black similar to the ones found on Stella's foundational Black Paintings, the present canvas simultaneously recalls the artist's earlier work while presaging future developments.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

After a period of producing a series of work on canvas and exhibiting in «white wall» style exhibitions, Herakut returns to an approach like their early years in presenting a fully immersive installation.

The Queens Museum of Art will present Lee's signature works — large ballpoint pen works on canvas and on paper — early experimental works, and a fifty - foot, site - specific installation.

The earliest examples — the Aluminium Paintings (1960) and Copper Paintings (1960 - 1961), were followed by works that extended the concept of the shaped canvas, including the Irregular Polygon canvases (1965 - 67) and the later Protractor series (1967 - 71).

The presentation will feature a selection of rarely shown early paintings, iconic canvases from Albers's Homage to the Square and Variant / Adobe series, and works on paper.

In his recent acrylic and oil works on canvas, Il Lee offers a counterpoint to his well - known ballpoint pen work and continues his early investigations of materials and process that began decades ago.

At a slight angle to those, some of Bernard Frize's earliest abstract works were made peeled off the coloured skins from pots of paint left open in the studio, and applying them over the surface of the canvas.

They still rely on a flattened cubist spatial structure but on a much larger scale and with light flooding the canvases and brush marks recalling American art of the heroic post-war days; recalling, in fact, his own heroic days, for despite an increasingly sure technique, these later works are quieter, blander even, than the assertive and clamorous combines of his early maturity.

Oil on canvas Hand - signed «Pat Steir, 1988» verso Excellent Condition Though her early work was loosely allied with Conceptual Art and Minimalism, Pat Steir's poured «Waterfall...

The controlled minimalism of his works in the late 1950s and early»60s gave way to maximalist riots of colour later in his career — with subsequent works surpassing 2D canvas to become sculptural.

The artist has alternated long periods of working in either watercolor or oil, specializing in controlled pours and stains on unprimed canvases early in her career.

Still explains the «ascending verticality» and «aspirational thrust» of his canvases throughout his career as taking root in his early landscape painting which he described as «records of air and light, yet always inevitably with the rising forms or the vertical necessity of life dominating the horizon... And so was born and became intrinsic this elemental characteristic on my life and my work.»

Oil on canvas Hand - signed «Pat Steir, 1988» verso Excellent Condition Though her early work was loosely allied with Conceptual Art and Minimalism, Pat Steir's poured «Waterfall» paintings initiated in 1988 gained her critical acclaim.

The canvas is one of a series of canvas works done by Coupland over the past five years, many of which are a conscious revisiting of the work of Roy Lichtenstein that focuses on his late 1960s and early 1970s work.

A concise and surprising group show at one of the Lower East Side's newer galleries (it opened in early 2013 with a solo show by Amanda Valdez, one of the four artists in «Works Off Canvas).

Osborne has alternated long periods of working in either watercolor or oil, specializing in controlled pours and stains on unprimed canvases early in her career.

Adam D. Weinberg, director of the Whitney Museum, said it submitted a range of works from different periods, including Hopper's «Early Sunday Morning» and Georgia O'Keeffe's haunting «Summer Days,» as well as a posterlike Los Angeles canvas by Ed Ruscha called «Large Trademark With Eight Spotlights.»

She then fastened sooted canvas to the frame with thin wire, preferring decomposable iron wire in her earliest pieces to the more stable copper she chose for her later work.

Gerhard Richter: Colour Charts also features an earlier work, Sänger (Singer), 1965/1966, a Photo Painting with a colour chart of various shades of red painted on the obverse side of the canvas, which provides an integral insight into the artist's conception of the series.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Early on, he painted in a 6 - by - 9 foot room at the YMCA and only began working on large canvases when he could afford a bigger studio.

Co-curated by Alfred Pacquement, the former director of the Centre Pompidou (which staged a groundbreaking retrospective of Hantaï works in 2013), the exhibition primarily tracks Hantaï's early use of his «pliage» method - an intricate technique of folding and knotting an unstretched canvas before Hantaï painted the configuration, unfolded and then stretched it, so that colourful geometric shards and unpainted negative space were revealed.

These works were difficult to categorize: though I thought of myself as a painter, as I had earlier when working with gouache on paper, in defiance of the rules left over from Greenbergian formalism in the New York School that made oil or acrylic on canvas the probative medium, these were not paintings.

In many of the works, the artist confronts the viewer with a direct gaze, a departure from iconic earlier works in which the point of view that remained within the canvas itself.

@TheRealHennessy Tweet Painting, Craisins ™, 2014, 14 × 11 in., acrylic and screenprint on canvas [the ur-@TheRealHennessy tweet, btw] Like his early works @TheRealHennessy Tweet paintings resolve pre-existing forms and sources in new artworks that are as immediately appealing as the tweets they quote.

One of the earliest works in the show is Enter and Exit the New Negro (2001), a minimalist canvas made from perm endpapers — a material used in the straightening of African - American hair.

The oil on canvas works were a departure from the newspaper images and personal photographs which form the subject matter of earlier «Fact» painting exhibitions, «The Elusive Truth» (2005) and «Beyond Belief» (2007).

Further, in this series of works on paper, of which Wine, Rust, Blue on Black is a prime example, the punctuation of blue recalls earlier multiform canvases, such as Untitled (Multiform), 1948.