Sentences with phrase «edge art forms»

Platform China serves as a dynamic exhibition space that showcases experimental work, cutting - edge art forms, new media, and installation art.

Not exact matches

Finally, take a small nail art brush dipped in Lots of Lux to create the small pear - shaped designs on the outer edges to form the points of the Solaris 8.

Rex Amos is Cannon Beach's own skilled scissors man whose ability to cut complex edges with precision, transforming the cut forms into fantastic imagery, landed him in the Hallie Ford Museum of Art last summer.

«Lorser Feitelson: Figure to Form» at Louis Stern Fine Arts is a small but insightful survey of the noted painter's transition from Post-Surrealism to Hard - Edge...

«Invisible: Art about the Unseen 1957 — 2012 ′, Hayward Gallery, London, UK «An Incomplete History of Incomplete Works of Art», Francesca Minini, Milan, Italy «Reflecting on Reflection», Galeri Mana, Istanbul, Turkey «When Attitudes Became Form Become Attitudes», CCA Wattis Institute for Contemporary Arts, San Francisco, USA «The Edge In Landscape», The Towner Art Gallery, Eastbourne, UK «Où donc, et quand?»

This multi-disciplinary hub stages cutting - edge research and novel ideas of cross-cultural dialogue in the form of annually themed events (conferences, workshops, art competitions, exhibitions, -LSB-...]

The bronze lends itself well to the form of the pumpkins, mimicking the warmth in colour of their real life counterparts with the black spots adding the familiar graphic pop art feel and yet also a sombre edge to these works.

The exhibition includes several of Andrade's major Op art paintings, which combine hard - edged geometric forms and lines into illusory, and sometimes hallucinatory, compositions.

Although his early works can be considered a form of Op art, as he depicted ovals and circles on flat surfaces of paint, he developed in his later years a style that is more linked with hard - edge and color field painting.

Electric Soup features Krushenick's dynamic paintings that juxtapose bold forms with hard - edged abstraction, revealing a body of work that exists independent of and simultaneously connected to Op art, Pop, Abstract Expressionism, Minimalism, and Color Field painting.

His works seems prescient of Pop art, and many forms of hard - edge abstraction that came decades later, and flourish today.

We also offer individual courses and Certificates for professionals in Typeface Design, a centuries - old art form that now also employs cutting - edge technology and in Digital Fabrication.

This visibility is somewhat ironic, because Chan's art — and his persona — play the edge between the visible and the invisible, probing widespread assumptions about the nature of visual arts, and privileging a coded, language - based form of address.

Tony Delap, Modern Times III, 1966 Wood, fiberglas and lacquer, 32 x 84 x 38 inches March 7 — April 4, 2009 Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the -LSB-...]

Bill by Bill brings together classic Modernist forms with bleeding edge post-studio, conceptually based1 practices to create a mercenary stunning vision of contemporary art.

This combination of hard edged geometries of form, evocative of the Crystal Palace and Tatlin's Monument to The Third International (both frequent subjects of Zimmerman's drawings) and soft focused celestial space, has been shown at Art Palace in Austin.

Given the title Post-Painterly Abstraction, or «concrete abstractions,» these later works exhibited large, crisp - edged geometric forms with aggressive colors and were met with great acclaim, establishing him as a major figure in the art world.

By the time it opens on Oct. 7, the life's work of her near contemporary, «Carmen Herrera: Lines of Sight,» will be enlivening the walls of the Whitney Museum of American Art with sharp - edged forms and brilliant colors.

Solo Exhibitions 2015 If this walls had ears, Chert, Berlin Concrete Ribs, Govenhill Baths, Glasgow 2014 DOCU - PRESS 4, Frans Masereel Centrum, Belgium 2013 II Stile, with Nathan Peter, PSM, Berlin Occupying Forms, Glasgow Print Studio, Glasgow 2012 Hard edge, Soft line, David Dale Gallery, Glasgow Every friend of my friend is my friend, with Jérémie Gindre, Norma Mangione Gallery, Turin 2011 Every Which Way, Chert, Berlin The Royal Standard Presents: Cut - Fill - Skim, Liverpool Immovable Parts, with Karin Stewart, Project room 103, Glasgow 2010 Lines have edges, presented by ten til ten, 6 Dixon Street, Glasgow International Festival, Glasgow Open Space, Art Cologne, curated by Jacob Fabricius, Matthias Mühling and Heike Munder, solo presentation with Chert, Berlin 2009 Breadthless Lines, Glasgow Sculpture Studios, Glasgow Cut Line, Ten Til Ten, Glasgow Lines and Pours, Chert, Berlin 2005 The Factory, The Factory, Impact Arts, Glasgow

«Hercules Lite» replicated the form of architect Marcel Breuer's massive support column at Lehman College Art Gallery in a transparent, fluorescent - edged green plexiglass.

Additional fine art highlights include: Ruth Asawa's Untitled, S. 750 (Hanging Open Form with Four Fluted Edges)(c. 1960s) sculpture which realized $ 93,750; Pablo Picasso's glazed ceramic, Face in Profile (1953), reached $ 93,750; a relief by Robert Graham from 1989 fetched $ 68,750; John Baldessari's photographic suite National City Portfolio (1996) brought $ 62,500; and a diptych by Roger Brown, Just Around the Corner (Part I & Part II)(1975), realized $ 56,250.

Organized by Boston Center for the Arts and Bodega, the inaugural Boston Art Book Fair is an innovative and cutting edge event where international and local artists, thinkers, collectors, publishers and anyone drawn to the rich intersection of text and image convene to celebrate and trade print in all forms — including art books, zines, prints, catalogs and analog recordinArt Book Fair is an innovative and cutting edge event where international and local artists, thinkers, collectors, publishers and anyone drawn to the rich intersection of text and image convene to celebrate and trade print in all forms — including art books, zines, prints, catalogs and analog recordinart books, zines, prints, catalogs and analog recordings.

Op Art is often characterized as having reductive geometric forms and hard edges, and as being linear and abstract.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Since then Sarkisian has pushed the state of his art in an effort to discover new and exciting techniques, often incorporating cutting edge technology such as 3D CNC, vacuum forming and 3D printing into his creative process.

His twisted comic - book forms, artificially hot colors, controversial subject matter, and unquenchable ambition to provoke strong feelings through his paintings have kept him on the edges of the art world while also preserving, for over forty years, the freshness of his work.

Such innovations form the basis for a cutting - edge exhibition titled «Paperworks,» opening Saturday at the Craft and Folk Art Museum in Los Angeles.

New Mexico 2003 Magical Light Kittrell Riffkind Gallery Dallas, Texas 2001 Solid Air Houston Center for Contemporary Crafts Houston, Texas 1999 Pure Light in Glass Philabaum Glass Gallery Tucson, Arizona Group Exhibitions (selected) 2016 Mid Winter - Love Light Gallery 286 London, UK 2015 Paseo - Taos Fall Arts Festival Taos, New Mexico Cinnabar Gallery San Antonio, Texas International Exhibition of Holograms Elisseev Palace St. Petersburg, Russia Dallas Art Fair Nyehaus Gallery Dallas, Texas Inventory of Light Gerald Peters Gallery Santa Fe, New Mexico Collaboration Gallery 286 London, United Kingdom 2014 A Contemporary Edge Bonhams London, United Kingdom The Very Last Plastics Show Dorfman Projects New York, New York Currents The Santa Fe International New Media Festival Santa Fe, New Mexico Armory Show Center for the Contemporary Arts Santa Fe, New Mexico Momentary Realties Cinnabar Fine Arts San Antonio, Texas 2013 No Paint Gallery Sonja Roesch Houston, Texas Luminescent Cloud 5 Santa Fe, New Mexico Light as Form

Kazanjian says that she selected the themes of the self - portrait and the nude to present to contemporary artists because she was interested in how cutting - edge artists could make old - fashioned art forms completely new.

PERCHED NEAR THE EDGE of the Museum of Modern Art's atrium throughout this past spring and summer, Sigmar Polke's Kartoffelhaus (Potato House), 1967, echoed not only the diminutive German garden sheds and rigidly formed Minimalist objects in whose shadow the work was clearly made, but also — and more oddly — the very interior in which the piece itself was installed.

Working both on crumbling street walls and white gallery walls, he makes art characterized by the soft edge of his watercolor feel up against the hard, bold lines of the shapes and forms.

A disciple and vanguard of the taschist style, a non-geometric abstract style that developed in postwar Europe, Ayres was inspired by abstract expressionist art in the United States and painted in a lyrical, gestural style that stood in contrast to the hard - edge forms of her contemporaries.

Later he used some of those same forms to make «hard - edge paintings», such as Chroma Double from 1965, in the collection of the Honolulu Museum of Art.

After her Italian excursion, Faring edged into street art with abstract female forms in California, studied at The School of the Museum of Fine Arts in Boston, and faced the end with others through hospice nursing.

While «formulaic,» something I railed against in the late 1960's and early 1970's Minimalist - Conceptual art world, I find the process surprisingly interesting, particularly passing it through the filter of non-taped edges of the painted form.

«While «formulaic,» something I railed against in the late 1960's and early 1970's Minimalist - Conceptual dominated art world, I find the process surprisingly interesting, particularly passing it through the filter of non-taped edges of the painted form.

2001 Cleveland Artists Foundation, The Beck Center for the Arts, Cleveland, Ohio, «Harmonic Forms on the Edge: Geometric Abstraction in Cleveland» Gallery One, Washtenaw Community College, Ann Arbor, Michigan, «Color in the Eye»

In Anya Fisher's mature work, the prevailing trends of the time are integrated; hard - edge shapes and soft - edge cubism collaborate to create an art formed in the heart and finished in the mind.

This encompassed abstract art movements such as Lyrical Abstraction, as well as various forms of Minimalism including Hard - Edge Painting.

Emerging from her studies about the time of the Op Art movement and that seminal exhibition, The Responsive Eye, presented at the Museum of Modern Art in New York in 1965 and organized by William C. Seitz, Rector could not help but be influenced by the hard - edge structures, dizzying lines, geometric forms and high key and high contrast colors that created optical and illusory effects challenging visual perception.

Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the search for beauty in the creation of a simple object.

My favourite Basel art experiences was visiting the Volta art fair which was situated in an industrial suburb of Basel and had a very exciting showing of international cutting edge galleries that took big risks with new avenues of exploration or had novel ideas on curation — new art stars could be seen forming among the interstellar dust — it was good to see my art friend Martin Brown here with a good one man show at his London based gallery — Fred who were showing here.

Artists representing various movements and geographical backgrounds are all there: Cubist, Dada, and Russian avant - garde artists of the 1910s and 1920s, with their images of flat, intersecting planes and floating shapes; artists associated with Minimalism, Op art, and hard - edge abstraction in the 1960s and 1970s, whose primary interest lay in the investigation of reductive form and color; and contemporary artists who continue to exploit the infinite potential of simple geometries.

Aim is to create connections between art and cutting - edge visual culture by publishing and exhibiting projects by international artists who have advanced contemporary and interdisciplinary art practice, forming a point of convergence where design is engaged in conversation with contemporary art.

The fair is comprised of over seventy international galleries presenting works of all forms of contemporary art including painting, sculpture, photography, design, fine art glass, video and installations from modern art to new cutting - edge artists.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»