Sentences with phrase «early line art»

Not exact matches

A nice distinction came up in a conversation earlier this week: writing good headlines and subject lines is a creative art, but picking the right ones to use is pure science.

Circles are predominately used to form the art within this world, the natural world itself (Note how the storm clouds in an early scene are tangled masses of thin, swirling lines of various shades of gray), and frames to outline characters and scenes (notably a shot of the witch's owls, which are designed with round heads, attempting to crack a circular window and another showing the orb of the witch's eye fitting neatly into the outlines of a eye - shaped peephole).

Hyped as a supernatural thriller along the lines of Polanski's brilliant «Rosemary's Baby,» Aronofsky's latest is closer to the Polish director's earlier art - house fare, such sardonic mind - games as «Cul - de-Sac» and «Repulsion.»

Situated next to a state - of - the - art clay model CNC milling machine, Sebastian talked us through an early design step where a basic sketch composed of a few lines can be milled into an A7 - esc clay model with the aim of getting an idea of defining curves and swoops.

The line art is crisp and clear and things that seemed a little distorted in earlier books, such as eyes, are much better rendered.

«Latimer does the trope justice and adds a nice twist to the story line: a last reveal that should make readers smile, playing off a rabbit's capacity to multiply... Bright art and boxy - looking critters will seem familiar to fans of Latimer's earlier books.

Candidasa boasts several art shops lining the main street open daily and some close early.

This game is worth 80 Microsoft Points on its art style and early levels alone, the multiple modes and long line of levels for each is simply a bonus.

Square Enix has revealed the latest scoop on the upcoming Final Fantasy VII: Advent Children Sephiroth joining the Play Arts Kai figure line early next year.

Amsterdam - based illustrator Stefan Glerum has a distinct style that is recognised and respected across the world, and his work is inspired by early 20th Century movements such as Art Deco, Bauhaus, Italian Futurism and Russian Constructivism, which he combines with popular themes, executed in a hand drawn style reminiscent of the clear line.

«I think of art, at its most significant, as a DEW line, a Distant Early Warning system that can always be relied on to tell the old culture what is beginning to happen to it.»

If 1962 is the dividing line between one art world and what we seem to have inherited — the moneyed domain of the big, slick, well - produced, and shiny, not to mention the monumental, industrial, and tastefully rusted — Inventing Downtown will bring you back to the period before the art world became arty, segregated, and hierarchical, and introduce you to the early work of Yayoi Kusama, Bob Thompson, Leo Valledor, Yoko Ono, Romare Bearden, Nanae Momiyama, Marcia Marcus, Robert Kobayashi, Jean Follet, Walasse Ting, Norman Lewis, and Tadaaki Kuwayama.

The current exhibition of Herrera's work at the Whitney Museum, entitled «Lines of Sight,» with a beautiful accompanying catalogue by Dana Miller, endeavors to rectify the art world's long - term neglect: it focuses on Herrera's work from 1948 - 1978, from her earliest abstracts through the various stages of her artistic evolution.

(2012), presented as a giant billboard over West 18th Street, and Sturtevant's Warhol Empire State (2012), a video projection that starts at dusk of Andy Warhol's Empire (1964) video, debuted earlier in the month to launch the Friends of the High Line's 2012 Spring Art Program and High Line Commissions program for public aArt Program and High Line Commissions program for public artart.

Riley's early curve paintings from the 1960s, which open the exhibition, shook traditional conceptions of art almost literally: their disorientating contour lines are too much for the eyes and brain to process, so that they genuinely seem to vibrate and undulate on the wall.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

The gallery's longstanding relationship with many of its artists will be highlighted by focusing on important early solo exhibitions at Art Projects International: Jian - Jun Zhang: Water and Fire (1995); Gwenn Thomas: Recent Work (1996); Il Lee - Line and Form: Drawings 1984 - 1996 (1997); Pouran Jinchi: Recent Paintings (2000).

In l968, she had an early break when her painting William Clark was included in the innovative exhibition Art of the Real at the Museum of Modern Art: this, at 28ft long, was her first large - scale line painting.

The party for Rashid Johnson's first - ever work of public art started 30 minutes earlier, so I'm out slightly out of breath when I reach the southern edge of the High Line.

The ideas within Estes» paintings in Dispatches from the Front Lines come out of the feminist art movement of the early seventies and the subsequent flowering of the pluralism and inclusiveness of that time.

Iglesias, F.Meisenberg, B.Ruais, K.Thorne, J.VanDyke / Abrons / 466 Grand / thru 12/20 Kaari Upson / Ramiken Crucible / 389 Grand / thru 12/14 Matt Connolly / Essex Flowers / 365 Grand / thru 1/4 Opening 11/21 Keumnin Lee / Shin / 322 Grand / thru 11/30 Ulf Puder; Bettina Blohm / Straus / 299 Grand / thru 12/12 Amy Lien & Enzo Camacho / 47 Canal / 291 Grand — floor 2 (new location) / thru 12/21 Bright Matter: LAb [au]; Numen / For Use; Joanie Lemercier; Nonotak; François Wunschel / Guepin / 83 Orchard / thru 1/11 Opening 11/21 Kiki Kogelnik / Subal / 131 Bowery / thru 12/19 Brad Troemel / Tomorrow / 106 Eldridge / thru 11/30 (extended) The Contract / Essex Street / 114 Eldridge / thru 1/11 Opening 11/21 Reception 11/22 Foster Mickley / Munch / 245 Broome / thru 12/21 Opening 11/21 Robin Kang; Duhirwe Rushemeza / Tabacaru / 250 Broome / thru 12/9 Michelle Lopez / Preston / 301 Broome / thru 12/21 Alexander Tovborg / Beauchene / 327 Broome / thru 12/21 Mary Ann Aitken; John Maggie; Jonathan Rajewski / Hanley / 327 Broome / thru 12/21 Guglielmo Achille Cavellini / Whitebox / 329 Broome / 11/1 thru 11/30 Yui Kugimiya / Marlborough / 331 Broome (third NYC location) / thru 12/21 Opening 11/20 Lily Ludlow / Canada / 333 Broome / thru 12/14 Ulrike Theusner; Paul Brainard / Lodge / 131 Chrystie / thru 12/14 Cristina Vergano / Woodward / 133 Eldridge / thru 12/21 Nayda Collazo - Llorens / LMAK / 139 Eldridge / thru 11/30 James Hoff / Callicoon / 49 Delancey / thru 12/21 Noam Rappaport / Fuentes / 55 Delancey / thru 12/21 XYZ collective / Brennan & Griffin / 55 Delancey / thru 12/21 Jana Winderen & Marc Fornes / Storefront for Art & Architecture / 97 Kenmare @ Centre / thru 11/21 Maya Bloch / Thierry Goldberg / 103 Norfolk / thru 12/21 Josh Faught / Cooley / 107 Norfolk / thru 12/21 Joseph Montgomery / Gitlen / 122 Norfolk / thru 12/21 My Big Fat Painting curated by Rick Briggs; Fred Gutzeit / Morris / 163 Chrystie / thru 11/23 (extended) Closing Reception 11/20 (7 - 9 PM) Mark Joshua Epstein / Morris project space / 163 Chrystie / thru 12/20 Opening 11/20 (7 - 9 PM) Addie Wagenknecht / Bitforms / 131 Allen (new location) / thru 12/7 David Mramor / James / 143b Orchard / thru 12/7 Angelo Volpe / Krause / 149 Orchard / thru 12/8 Beatrice Scaccia / Cuchifritos / 120 Essex (SE corner of market) / thru 11/30 Tommy Hartung / On Stellar Rays / 1 Rivington / thru 11/30 Valeska Soares / Eleven Rivington / 11 Rivington / thru 11/23 Bill Traylor / Cuningham / 15 Rivington (new location) / thru 12/6 Micki Pellerano / Envoy / 87 Rivington / thru 11/23 Do the Write Thing: Read Between the Lines / Berst / 95 Rivington / thru 12/20 Guglielmo Achille Cavellini / Lynch Tham / 175 Rivington / thru 12/21 Jessica Rankin / Salon 94 / 1 Freeman Alley / thru 12/21 Red, Yellow and Orange: Ford Crull; Debra Drexler; Peggy Cyphers / Van Der Plas / 156 Orchard / / thru 12/31 AS IF: Abigail Donovan; Troy Richards; Robert Straight; Peter Williams / Novella / 164 Orchard / thru 12/6 Raquel Rabinovich / Y / 165 Orchard / thru 12/23 Opening 11/21 Tai Ogawa / Matsumiya / 153 1/2 Stanton / thru 12/31 Magnolia Laurie / Frosch & Portmann / 53 Stanton / thru 11/23 Forces at Play: S.Crider; B.Gardner; M.Keller; J.Mellon; L.Rablin / Molly Krom / 53c Stanton / thru 11/30 Valeska Soares / Eleven Rivington / 195 Chrystie (second location) / thru 11/23 Sara Goldschmied; Eleonora Chiari / Lorello / 195 Chrystie — floor 6 / 11/19 thru 1/25 Reception 12/11 Kader Attia / Lehmann Maupin / 201 Chrystie / thru 12/13 George Horner thru 12/6, Henry Mandell thru 1/10 / Charles / 196 Bowery Lili Reynaud - Dewar thru 1/25; Chris Ofili thru 2/10; etc. / New Museum / 231 - 235 Bowery Takeshi Murata / Salon 94 / 243 Bowery / thru 12/21 Heinz Mack / Sperone Westwater / 257 Bowery / thru 12/13 Notes on Undoing / Garis & Hahn / 263 Bowery / thru 12/20 Opening 11/20 Charles Dunn / Rucker / 141 Attorney / thru 11/26 Serge Alain Nitegeka / Boesky East / 20 Clinton (new, third NYC location) / thru 12/21 Matthew Fischer / Junior Projects / 139 Norfolk / thru 12/21 Pierre St - Jacques / Station Independent / 164 Suffolk / thru 12/14 Aki Sasamoto / JTT / 170a Suffolk / thru 12/14 (Performances 12/12 @ 6 PM) Sara Greenberger Rafferty / Uffner / 170 Suffolk / thru 12/21 Matt Hoyt / Bureau / 178 Norfolk / thru 12/21 Stuart Shils / Harvey / 208 Forsyth / thru 12/21 Opening 11/19 Arianna Carossa / Rooster / 190 Orchard / thru 1/4 Opening 11/25 Greer Lankon / Participant / 253 E Houston / thru 12/21 Henry Flynt / Audio Visual Arts / 34 E 1st / thru 11/23 (extended) Joel Holmberg / American Contemporary / 4 E 2nd / thru 12/19 Early Man / The Hole / 312 Bowery / thru 12/28

At The Art Show, Barbara Krakow presents Blue Day - Glo Corner Piece, an early work fashioned from elastic cord and spring steel; down the hall of the Park Avenue Armory, Lawrence Markey shows Sandback's pastel lines on paper, circa 1976.

Her early drawings, characterized by their clean lines and all - over patterns, drew the interest of luminary artists and museum curators including director of IIT Mies Van Der Rohe, and Art Institute of Chicago curators Katharine Kuh and Carl Schniewind, and led to solo exhibition at the Art Institute in 1952 and 1957.

Best known during her lifetime as a pioneer in teaching children's art along progressive lines, Anne Savage's early paintings were initially strongly influenced by the Group of Seven.

Robert Irwin, who began his career in L.A. in the late fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to such an installation early next year).

In the early 1960s, the bright line between art and political activism that had characterized the 1950s began to fade, as artists increasingly began to engage with sociopolitical issues.

In line with this rotating platform, medieval art dealer Arcadia Cerri will be the first invited dealer to present a group of early carvings, spanning the Romanesque, Gothic and Renaissance periods.

Early birds will want to make sure they are in line when the doors open at the big four — the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the Museum of Modern Art and the Whitney Museum of Art.

The theme excludes too much by detaching Picasso's line from his innovations in paint and sculpture, yet remains too broad for the kind of deep dive the Kimbell Art Museum has taken — tellingly, with far fewer works drawn from a mere decade — in Monet: The Early Years, which manages to make another seemingly overexposed artist look incredibly fresh.

In London, the Whitechapel Gallery revisits key chapters of Exhibition Histories with a conversation between artist Lubaina Himid and curator and researcher Paul Goodwin (March 3) around three seminal exhibitions Himid curated in early 1980s London: «Five Black Women», Africa Centre (1983), «Black Women Time Now», Battersea Arts Centre (1983 - 4) and «The Thin Black Line», Institute of Contemporary Arts (1985).

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

In the early 1980s three exhibitions in London curated by Lubaina Himid — Five Black Women at the Africa Centre (1983), Black Women Time Now at Battersea Arts Centre (1983 - 4) and The Thin Black Line at the Institute for Contemporary Arts (1985)-- marked the arrival on the British art scene of a radical generation of young Black and Asian women artists.

In the early paintings, Composition abstraite aux traits (1946, private collection), and Espace orangé (1948, Musée des Beaux - Arts, Liège), lines mark sections across monochrome blocks.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

CARBON 13 presented in conjunction with «The Marfa Dialogues: Politics and Culture of Climate & Sustainability» Artists: Ackroyd & Harvey, Amy Balkin, Erika Blumenfeld, David Buckland, Adriane Colburn, Antony Gormley, Cynthia Hopkins, Sunand Prasad Participants: Hamilton Fish, Diana Liverman, John Nielsen - Gammon, Michael Pollan, Robert Potts, Tom Rand, Rebecca Solnit Curated by David Buckland «I think of art, at its most significant, as a DEW line, a Distant Early Warning system that can always be relied on to tell the old culture what is beginning to happen to it.»

Since its beginnings in the early 1900s, abstraction has taken various forms and positions — drawing lines and defining territories between «non-objective art «and works that are abstracted from or rooted in reality.

Europeans and European Americans didn't fully embrace abstract art until the early 20th century, when artists like Piet Mondrian and Ilya Bolotowsky used color, lines, and geometric forms as their means of expression.

To illustrate this last point, a line can be drawn through examples from early Modern art to the present.

The shifting lines and layered brushwork of these works most completely integrated the classical figurative tradition he absorbed during his earliest art studies and the instinctive painting processes of Abstract Expressionism.

Raymond Pettibon Surfers 1985 - 2013» Venus over Manhattan, New York, NY, April 3 — May 17, 2014; catalogue 2013 «To Wit,» David Zwirner, New York, NY, September 12 — October 26, 2013; catalogue «Raymond Pettibon: No Title (Safe he called...),» High Line Billboard, New York, NY, June 3 — July 1, 2013 2012 «Raymond Pettibon,» Sadie Coles HQ, London, UK, October 3 — November 17, 2012 «Some early works,» Georg Kargl Box, Vienna, June 28 — September 8, 2012 «Whuytuyp,» Kunstmuseum Luzern, Lucerne, Switzerland, March 24 — July 22, 2012; catalogue 2011 «Desire in Pursuyt of the Whole,» Regen Projects, Los Angeles, CA, November 4 — December 22, 2011 «Looker - Upper,» Contemporary Fine Arts, Berlin, Germany, April 30 — June 11, 2011; catalogue 2010 «Raymond Pettibon: The Punk Years (1978 - 86),» Florida Atlantic University Schmidt Center Gallery, Boca Raton, FL, November 13, 2010 — January 22, 2011; traveled to Museum of Contemporary Art Tucson, Tucson, Arizona, October 22 — December 18, 2011; University Gallery, University of Massachusetts Lowell, Lowell, MA, January 27 — February 27, 2012; Visual Arts Center, Boise State University, Boise, ID, March 7 — 28, 2012; McIntosh Gallery, Ontario, Canada, September 13 — October 27, 2012; One Grand Gallery, Portland, OR, December 7, 2012 — January 25, 2013 «Hard in the Paint,» David Zwirner, New York, NY, November 6 — December 21, 2010 «Thoughts for a Book: Raymond Pettibon & Brian Kennon,» Station, Roski School of Fine Arts, University of Southern California, Los Angeles, CA, September 13 — 29, 2010 [two - person exhibition] «Raymond Pettibon,» Gladstone Gallery, Brussels, Belgium, May 21 — July 10, 2010 2009 «Raymond Pettibon,» Sadie Coles HQ, London, UK, November 25, 2009 — January 9, 2010 «Raymond Pettibon: Repeater Pencil,» World Class Boxing, Miami, November 14, 2009 — January 30, 2010 «Raymond Pettibon and Yoshua Okon: Hipnostasis,» Armory Center for the Arts, Pasadena, CA, May 24 — August 23, 2009 [two - person exhibition] «Crop,» URA!

Since his early days, Currimbhoy has been blurring the lines of art and architecture, and has been fascinated by simplicity of form and space.

Anthony McCall Lismore Castle Arts is delighted to present a solo exhibition by Anthony McCall, bringing together seminal early works such as «Line Describing a Cone» (1973), alongside complex new works such as «Swell» (2016).

The backdrops in Contemporary Business seem carefully chosen to reflect upon Shanghai's and China's complicated past, its rapid present transformations, and its undecided future, as the merry band of outsiders groove in front of a massive, drab communist style housing project, dance on the Bund along Shanghai's Huangpu River, a vibrant promenade lined with handsome Neo-Classical, Beaux - Arts and Art - Deco buildings (former banks and financial houses from the 19th and early 20th centuries) that are beautiful relics of Shanghai's colonial past and emblems of the city's cosmopolitan present.

Andrew Masullo's idiosyncratic, small, colorful abstract paintings (a sort of Mary Heilmann meets Thomas Nozkowski) installed playfully not following a center line seem to be looking back to the same art historical moment in the early 19th century as Bess.

At first, I mainly chose works of Conceptual Art from the late 60's like Sol LeWitt's Wall Drawings, Ed Ruscha's books, and some early John Baldessari pieces (i.e. «Throwing Three Balls In The Air To Get A Straight Line»).

Judith Bernstein's drawings and paintings are inspired by her early introduction to graffiti during her time at Yale School of Art; as such, her iconic style features expressive line work, graphic images, and a biting sense of humor.

Richard Long (born 1945 in Bristol, UK) is an English representative of Land Art, photography, and sculpture — one of his most famous early works being A Line Made By Walking (1967).

Early in his career he managed to produce work in both art and graphic design spheres, blurring the lines between the two.

In weighing in on the discussion, Roberta Smith cited examples of «earlier works of art by those who crossed ethnic lines in their depiction of social trauma.»

First seen at Paula Cooper in early 2011, Christian Marclay's The Clock had a constant line of art nerds waiting in the freezing Chelsea cold in order to spend some time with the real - time film.