Sentences with phrase «earlier self portraits»

This first volume to feature all of Oehlen's early self portraits reveals his balancing of figuration with abstraction, and his simultaneous questioning of the practice and history of art.

Other significant additions include a suite of 25 photographs from Lewis Baltz's seminal 1971 series The Tract House; a rare early self portrait by Sally Mann from 1976; Laurie Simmons» 1987 gelatin silver print, Walking Camera (Jimmy the Camera); Lorna Simpson's 1991 Coiffure, a triptych of gelatin silver prints and ten engraved plastic plaques; Chuck Close's daguerreotype portraits Cindy Sherman and Self - Portrait, both from 2000; and Hiroshi Sugimoto's Oscar Wilde (2000), all of which complement works by these artists already in the collection.

Shui trained at the Hangzhou National Fine Art College in Western painting and developed a practice that crosses fluidly between this Western style, as seen through fauvist devices in early self portraits, through to his Chinese ink painting.

The early self portraits are highly ironic.

Not exact matches

Self - Portrait between the Clock and the Bed (1940 - 42) restates the themes of earlier works.

I first spotted Self Portrait earlier last year and wore this dress in blue to a few events last year including a bridal shower and cocktail party on the Anthem of the Seas cruise I went on in November.

April Silvered Water, Syria Self - Portrait (2014, Ossama Mohammed & Wiam Bedirxan)-- 6.1 Song to Song (2017, Terrence Malick) DP — 7.1 Chiasmus (2003, Daïchi Saïto) 16 mm Chasmic Dance (2004, Daïchi Saïto) 16 mm Blind Alley Augury (2006, Daïchi Saïto) Super-8mm Green Fuse (2008, Daïchi Saïto) Super-8mm Field of View # 1 (2009, Daïchi Saïto) Super-8mm All That Rises (2007, Daïchi Saïto) 16 mm Trees of Syntax, Leaves of Axis (2009, Daïchi Saïto) 35 mm Never a Foot Too Far, Even (2012, Daïchi Saïto) 16 mm Dual Projection Engram of Returning (2015, Daïchi Saïto) 35 mm Early Experimentation Silent Shorts (1896 - 1903, Various) The Goddess (1934, Wu Yonggang)-- 7.2 In the Heat of the Sun (1994, Jiang Wen)-- 6.5 After Hours (1985, Martin Scorsese) 35 mm — 7.1 The Great Train Robbery (1903, Edwin S. Porter) + M (1931, Fritz Lang)-- 8.8 [up from 8.5] + Rebel Without a Cause (1955, Nicholas Ray)-- 8.0 [same] + The Thin Red Line (1998, Terrence Malick)-- 8.3 [up from 7.8] The Void (2016, Jeremy Gillespie & Steven Kostanski) DP — 5.2 Goodbye, Dragon Inn (2003, Tsai Ming - liang)-- 8.8 Steamboat Bill, Jr. (1928, Charles Reisner and Buster Keaton) 35 mm — 7.2 Stranger on the Third Floor (1940, Boris Ingster)-- 5.8 The Fate of the Furious (2017, F. Gary Gray) DP — 5.7 The New World [Extended Cut](2005, Terrence Malick)-- 8.6 In Chris Marker's Studio (2011, Agnès Varda) Bad at Dancing (2015, Joanna Arnow) The Maltese Falcon (1941, John Huston)-- 6.4 + Eraserhead (1977, David Lynch) 35 mm — 9.7 [same] + The Elephant Man (1980, David Lynch) 35 mm — 6.9 [down from 7.1] Two Lovers (2008, James Gray)-- 7.6 + Double Indemnity (1944, Billy Wilder)-- 7.3 [up from 7.2] The Lost City of Z (2016, James Gray) DP — 6.8 + Kill Bill Vol.

The portrait artist talks about an early career spent under the titanic influence of Picasso, and the return of the narrative self - portrait.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast; to his reliefs, sculptures, and assemblages created in a variety of materials; to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits, and a return to still life, this exhibition provides an in - depth look at the work of a unique and significant American artist.

The earliest work at Hirschl & Adler is a self - portrait from 1948 that indicates something about how he blended the diverse strands of his past.

At the Met, sixty works carefully chosen from the Lehman Collection offered a rapid, staccato trip through the history of European art, distinguished by such spectacular inclusions as a scrupulously observed walking bear by Leonardo da Vinci, from the late quattrocento, a cranky Dürer self - portrait from about the same time, an exquisite Fra Bartolomeo landscape of figures moving through mountainous terrain, from the very beginning of the cinquecento, and a startlingly intimate, casual study after Leonardo's Last Supper, drawn in red chalk by Rembrandt in the early 1630s, when he was still in his twenties.

From his earliest photographic self - portraits to his sculptural still lifes, each series is a remarkable creation suggestive of interiors or furniture, theater settings or architecture, yet they often seem absent of an immediate identifiable content, as if they confront the viewer with a riddle.

A British room contains four works by Lucian Freud (1922 - 2011), ranging from an early painting (Self Portrait, 1949) to the remarkable etching, Self - Portrait: Reflection (1996); two paintings by Francis Bacon (1909 - 92); the heavily impasto Head of Man (Self - Portrait)(1964) by Leon Kossoff (b1926), whose thick paint swirls offer his own form of distortion, concealment and ensuing excavation; and a delightful recent graphite piece by Frank Auerbach (b1931), Self - Portrait II (2010).

His earliest photographic works recreated historical subjects, such as self - portraits, still lifes and mythological scenes.

His early paintings and sculptures paid homage to the ready - mades of Marcel Duchamp, while the cross-hatching motif he developed in the 1970s found its origins in Edvard Munch's Self Portrait.

We may long for the dog - eared arrays of early colour samples and the questionable collections of introverted self - portraits that retrospectives have conditioned us to expect, but, unfortunately, this not how Poliakoff works.

The self - portrait is one of Still's earliest known pictures.

Cindy Sherman's early film stills sit easily across the page from Lee Friedlander's sly shadow self portraits; Robert Adams» desolate suburban sprawls lead a path to Larry Clark's strung - out dopers in Tulsa several pages later.

Rather than following the development of Rackliffe's oeuvre chronologically, the exhibition will explore various bodies of work that define the artist's output, including: Early Works; New York City; Maine Landscapes, Still Lifes, and Self Portraits.

Recalling Matthew Barney's early performative work, and the self - transformations in his Cremaster film cycle, Ball's portrait also references art history.

Included in the show is an early, rare, self - portrait drawing by Willem de Kooning, c. 1942, and a dynamic portrait by David Alfaro Siqueiros, c. 1936.

A lot is packed into the space without it seeming at all crowded, with surprising early things alongside classic works by Holzer (streaming LED signs and granite benches emblazoned with her aphorisms and poetic texts), Lawler (photographs of works of art uncomfortable in their contexts), Sherman self - portraits and Trockel wool paintings.

But if the self portrait is an early version of this twenty - first century trend, Rembrandt may well be one of its forefathers.

Like the early Elaine de Kooning self - portraits shown last summer at the Pollock - Krasner house in Springs (and reviewed here), the Krasner self - portrait presents a tough cookie dramatically coiffed and ready for a tiff.

Themes of self - reflection, performance, and identity are traced from early nineteenth - century experiments through contemporary digital techniques in outstanding self - portraits drawn entirely from the Audrey and Sydney Irmas Collection at the Los Angeles County Museum of Art.

Yet preceding these are some fascinating early, representational works by the same: a modest Pollock self - portrait, for instance, is an unsettling surprise.

An earlier version of this review incorrectly identified the year Adrian Piper created «Self - Portrait as a Nice White Lady.»

This unfinished self - portrait is an important addition to the Gallery's collection of Lucian Freud portraits, and provides an interesting counterpoint to its earlier self - portrait, which dates from 1963.

Informed by her «Rear Screen Projection» series from the early 1980s (the artist's first foray into color photography), these gigantic self - portraits bring to mind the scale of Hollywood as well as the artistic movements that have continually mined its grandiose clichés.

Certainly Sully could wield a brush with great deftness and sensuousness, as the show's earliest work, a brooding 1807 self - portrait owned by the Wadsworth Atheneum Museum of Art, establishes.

From her earliest self - portraits and images of her queer community, which explored the fluidity of gender and sexual identity, to her most recent portraits, which return to narratives of shifting identity, Opie is a fearless documentarian of our time.

This sculpture, a self - portrait which stylistically mixes art nouveau and orientalism, is among her earliest successes.

Borrowed Light will present a visual history of photography from its inception in the 1840s to the present day, chronicling various photographic processes, techniques, and artistic approaches — from an early half - plate ambrotype of Niagara Falls, to a Polaroid self - portrait by a young Robert Mapplethorpe.

The earlier of the two self - portraits featured in the exhibition, shown above, was acquired in 1904 by Henry Clay Frick and remained in the Frick family until 2014, when Trustee Mrs. Henry Clay Frick II generously gave it to the museum.

Jaimie Warren's video You Are Not Alone: Self - Portrait as Michael Jackson in a Recreation of the Genealogical Trees of the Dominican Order (2014) offers a setting for an 1980s - MTV - style music video within an early Renaissance painting.

There's his famous hypercolor, hypercontrast prints of hibiscus flowers; his tabloid «Death and Disaster» series from the early 1960s; square celebrity portraits of Elizabeth Taylor, Marilyn Monroe, and Jean - Michel Basquiat; a 1986 self - portrait of the aging artist in his «fright wig»; a grouping of massive Pop - ified Chairman Maos; and stacks of Brillo boxes.

There are only three known self - portraits in existence by Turner (his most famous self - portrait from 1799 is on display in the Clore Gallery at Tate Britain) but we were fortunately able to borrow an early miniature in watercolour from the National Portrait Gallery collection, painted when he was approximately 15 yeportrait from 1799 is on display in the Clore Gallery at Tate Britain) but we were fortunately able to borrow an early miniature in watercolour from the National Portrait Gallery collection, painted when he was approximately 15 yePortrait Gallery collection, painted when he was approximately 15 years old.

The Hirst works chosen for inclusion are: the key «Mental Escapology» work «The History of Pain» (1999); a triptych of new paintings «Nothing Matters / The Empty Chair» (2008) and «Self Portrait Mexico» (2007 — 2008); the early print piece «With Dead Head» (1991); and the spin painting «Beautiful Quetzalcoatl Dysphoria Painting» (2007).

CA: My work in this show began with an earlier 7» x 9» painting of Google's search page with my name typed into the search bar, which I came to because I was trying to imagine the «man without qualities» as a painting, as a self portrait.

This survey of Lyle Ashton Harris's art spans nearly twenty years of work, from the early, formal studio self - portraits for which he first gained acclaim Read More»

Anthony Van Dyck's final self - portrait, saved for the nation earlier this year following an Art Fund appeal, will go on display at Turner Contemporary at a new show opening in January.

The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the Artist» brings together self - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrself - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Cportraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Cportraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar CPortraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Cportraits); Self Conscious; Institutional Complex and Postwar CelebrSelf Conscious; Institutional Complex and Postwar Celebrity.

Marc Straus, founder of the Lower East Side gallery adds, «From the beginning, I was drawn to his earlier work of serial self - portraits.

Self Portrait as Another Person (1965) stands out from Hershman Leeson's early Breathing Machine series (1963 — 1972); in it, a disembodied head hovers over an antiquated tape recorder in a compartmentalized acrylic cube.

The work takes its place within her early rise to acclaim, situated between the 1995 fabric tent Everyone I Have Ever Slept With 1963 - 1995, and the iconic self portrait installation My Bed, 1998, which was nominated for the Turner Prize.

Among them is an early portrait by Mary Cassatt of her nephew Eddy Cassatt (1875; a gift from the sitter's granddaughter); Jan Miense Molenaer's Self - Portrait as a Lute Player (c. 1635), which joins a self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, frportrait by Mary Cassatt of her nephew Eddy Cassatt (1875; a gift from the sitter's granddaughter); Jan Miense Molenaer's Self - Portrait as a Lute Player (c. 1635), which joins a self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, from 1Self - Portrait as a Lute Player (c. 1635), which joins a self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, frPortrait as a Lute Player (c. 1635), which joins a self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, from 1self - portrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, frportrait by his wife, Judith Leyster, already in the collection; and Lewis Carroll's photographic portrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, frportrait of Alice Liddell (who inspired Alice in Wonderland) and her sister Lorina in Chinese dress, from 1860.

New York self - portrait specialist Cindy Sherman has some extremely early work here, from 1977 when she had not quite developed her signature style.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast, to his reliefs, sculptures, and assemblages created in a variety of materials, to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits and a return to still life, the exhibition provided an in - depth look at the work of a unique and significant American artist.

Among the 70 items on view are early works from the 1950s, including a self - portrait and a view of Katz's native St. Albans, Queens.

In 1974, Harold Rosenberg, one of Saul Steinberg's earliest and most eloquent supporters, wrote that «Cubism... which in the canon of the American art historian is the nucleus of twentieth - century formal development in painting, sculpture and drawing, is to Steinberg merely another detail in the pattern of modern mannerisms; in a landscape, he finds no difficulty in combining Cubist and Constructivist elements with an imitation van Gogh «self - portrait.