Sentences with phrase «early signature work»

These programs accelerate the careers of talented musical creators, giving them the financial and technical resources to create early signature work in our state - of - the - art theater.

And yet, what says the most about Loving as an artist is that he walked away from his early signature work because he felt «stuck inside that box» of his own making.

In his early signature works Tchah - Sup Kim brings the viewer to the bed of a dry mountain stream with his depictions of stones shaped by water.

One of Jeff Koons» early signature works was Two Ball 50/50 Tank, 1985, which consisted of two basketballs floating in water, which half - fills a glass tank (an influence on Damien Hirst).

Not exact matches

«Our work had shown that individuals in the early stage of network evolution display a distinctive and robust signature in their centrality trend, which can be adequately predicted by the NPP method,» Chawla said.

I did field work in the Sangre de Cristo Mountains, and found ample evidence in the sediment — which contained early jawless fishes, some of the oldest fragments known — for signatures of freshwater deposits, [which suggest that the earliest vertebrates originated in freshwater streams and rivers].

The film uses archival World War II footage, Hitler» early artwork and Plympton's signature animation to create this provocative work.

But his signature vehicles populated by his friends have also been great fun, from the creative early works like Billy and Happy to more recent movies like Click.

The webinar focuses on the Center's goals for the next two years; how CEELO will be supporting state early childhood goals in upcoming month; highlights signature projects building leadership and organizational capacity, birth to third grade data and policy, and financing and sustaining high - quality early learning programs; and, hallmarks state leaders from AZ, IL, KY, and NE discussing with their work with CEELO.

Shields» signature format of a color - drenched field inscribed by stitching and sewing is represented in the exhibition by an important early work titled Sandbar 12, from 1969.

His earlier works, produced in the 1980's, were signature Day - Glo, hard - edged paintings that acted as metaphors for the way in which social spaces have become delineated within the proliferating abstract nature of the technological world we now live in - as prisons or cells.

In a sense, his best known works — the «multiforms» and his other signature paintings — are, in essence, the same expression, albeit one of purer (or less concrete or definable, depending on your interpretation) means, which is that of the same «basic human emotions,» as his earlier surrealistic mythological paintings.

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.

Sean developed and honed his signature style while he was studying Fine Art here and it will be fascinating to see his early works and sketches — many of which were made while he was student here.»

In the early 1990s Turk explored issues of authorship and identity by making a number of works based on his own signature that comment on the value that the artist's name confers onto a work.

Exhibited across two floors of the gallery, the paintings here range in scale from the tablet - sized Boardwalk Barter a reminiscence from the artist's earlier years selling his work in Venice, California, to one of his signature, immersive flower - like explosions, which can be read as either the conceptual origin or the end point of all other work.

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 exhibition brings attention to Whitten's early gestural works and the transition into his signature process - based techniques, visible in two momentous paintings including Boschville, 1969, and CHE!

Emerging in the 1970s as part of the Pictures Generation, she established her signature style in the early 1980s, when she began taking pictures of other artists» works displayed in museums, storage spaces, auction houses, and collectors» homes.

On view will be signature pieces made in aluminum and copper, as well as early works, often gilded in gold leaf, that recall folded fabric and open fans, Benglis» original inspirations for the series.

The catalog includes signature pieces made in aluminum and copper, as well as early works, often gilded in gold leaf, that recall folded fabric and open fans, Benglis» original inspirations for the series.

With a mixture of updates on his Bacon homages, Edo period influenced works and his hallmark and signature flower works, the show was highlighted by a behind - the - scenes look at the notes, early sketches and edits that each painting goes through in the process of being created.

The smaller - scale work at Half Gallery has the signature aspects of those earlier paintings, but raises questions about her larger intent.

In addition to the Whitney's signature works — Alexander Calder's «Circus,» Edward Hopper's «Early Sunday Morning,» Andy Warhol's «Green Coca - Cola Bottles,» Georgia O'Keeffe's «Summer Days» and Jasper Johns's «Three Flags» — the show will include many areas of collecting that the museum has sought to strengthen in recent years.

In addition to making work for exhibition (her show of 3D - printed sculptures in her signature pearlescent white at Sean Kelly Gallery received positive reviews earlier this year), Mori has lately been occupied with running the Faou Foundation — an organization dedicated to promoting her idea of oneness through site - specific installations.

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

These signature bodies of work are preceded by his early experiments at Black Mountain College, a hotbed for innovation in the late 1940s and early 1950s, and his first collaborations with fellow artists and friends John Cage, Merce Cunningham, Jasper Johns, David Tudor and Cy Twombly.

The exhibition will span five decades of work from early experimentation to her mid-career installations, up to her signature Teste [Heads] series from later in her career.

These signature bodies of work will be preceded by his early experiments at Black Mountain College, a hotbed for innovation in the late 1940s and early 1950s, and his first collaborations with fellow artists and friends John Cage, Merce Cunningham, Jasper Johns, David Tudor and CyTwombly.

«She developed her own signature style though and extended into painting the same collage - like approach that she loved and utilized in her earlier works on paper.

The exhibition will include signature early works; such as Miles Coolidge's «Storefront, Hospital, Office Bldgs,» from his 1994 «Safetyville» series, Liam Gillick's «Discussion Island Research Screen,» 1999, and Annika von Hausswolff's «Attempting to Deal with Time and Space,» 1997.

While his early works were predominantly abstract, involving intricate patterns and colors, he has since developed a signature figurative style that bridges the gap between the sacred and the profane, and by extension, between high art and popular culture.

In the early 60's, inspired by the work of senior painters like Piet Mondrian and Josef Albers, Jackson moved away from the gestural style that had marked his work of the» 50's, developing his signature style of austere, hard edged geometric compositions on square and diamond shaped canvases.

On display is a selection of rare to the market early works and his signature style collage paintings.

Malone writes: «Ryman's work is often spoken of in terms of a pronounced quietude, but a full appreciation of its extended roots — effectively accomplished in the two Dia shows — can enrich the experience... The Chelsea show concentrates on color, highlighting the artist's early development of his exclusive and by now signature choice of white paint.

Cities, trustees, and directors face exciting and difficult choices, particularly if they are working with the signature architecture of earlier eras, be it a Beaux - Arts temple or Meier's 1983 High Museum of Art in Atlanta.

Chuck Close's signature portraits writ large occupy the elegant space like old friends, one gallery devoted to recent work, the other to earlier work, like a graphic self - portrait on a simple grid from 1974, bespectacled with flowing hair.

His signature paintings of ethereal clouds of color are featured in a handsome retrospective at Edison Place Gallery (organized by the Washington Arts Museum), along with his harder - edged but no less spiritual early work.

Earlier works, including Monograph, Signatures, and two projects based on Shirreff's engagement with the work of American sculptor Tony Smith, interweave photography, video, and sculpture.

Mark Rothkoâ $ ™ s search to express profound emotion through painting culminated in his now - signature compositions of richly colored squares filling large canvases, evoking what he referred to as â $ the sublime.â $ One of the pioneers of Color Field Painting, Rothkoâ $ ™ s abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewersâ $ ™ communion with the canvas in a controlled setting.

In the post-Pop world of his early career, the idea of calling a lampshade a work of art was sacrilegious; colors such as pastel pink or eau de nil — signature Chaimowicz hues — were anathema.

A 1958 exhibition of Jackson Pollock's work at Whitechapel Gallery had a major impact on the young artist, but it wasn't until the early 1960s that Riley began to develop her signature Op Art style consisting of black and white illusionistic patterns.

This summer «Brand New & Terrific: Alex Katz in the 1950s» will spotlight his rarely seen early work to illustrate how his signature style evolved through landscapes, still - lifes and portraits.

The early plaster sculptures are the hushed thrills of the show, but works from the»50s and»60s made of wood, which became his signature material, are also absorbing.

Entering the gallery, one finds an interactive screen offering an introduction of Szpakowski to Lower East Side gallery hoppers who are mostly novice to his work, including some of his early drawings to track the transformation of his signature fashion.

At its annual meeting in March, the Collectors Committee of the National Gallery of Art made possible the acquisition of Piano / Piano (1963 — 1965/2011) by Richard Artschwager, a major example of the wooden sculptures that employ Formica as a laminate, for which he is known; Plaster Surrogates (1982/1989) by Allan McCollum, the last large grouping available of the artist's signature works in this series; and Condensation Wall (1963 — 1966/2013) by Hans Haacke, a breakthrough kinetic work from the artist's early career.

The exhibition will also present early work — collages, still lifes, and graphic images — made in the «40s and «50s, that show the development of the formality of structure that became his signature.

These are followed by paintings from the late 1980s and early 1990s made in Chicago, where Marshall lives and works and developed a signature practice of painting in acrylic on the collaged surfaces of large unstretched canvases.

This major new exhibition focuses on the early work of artist Alex Katz, exploring this first decade with over 60 paintings, collages, and cutouts characterized by the innovative experimentation from which his signature style emerged.

Born in Beijing, China in 1958, Fu Lei graduated from Fine Arts School at the Hebei Normal University in 1982 and is currently based in Beijing's iconic 798 Art District.The artist's early works assimilated vivid colours and decorative delights from Chinese folk art and in 1998, the artist began to use his now signature plump figures to unearth the indolence and ambiguousness of human nature.