Sentences with phrase «edge color forms»

Finally, I would like to cite the exhibition of recent paintings by Laurie Fendrich, an artist whose work offers a necessary counterpoint to the large - scale gestural paintings of the Abstract Expressionists by returning to a previous discourse in American abstraction that focused more on an intimate scale in relation to hard - edge color forms.

Not exact matches

Put four or five small toys inside one container (an assortment of shapes, sizes, and colors looks most interesting, and a jingle bell or two adds a lot of pizzazz), then wedge one container over the other, overlapping the edges an inch or two and forming a closed cylinder.

How to Look and Feel Elegant and Classy All the cutting edge trends feature looks of edgy alternative youthfulness with vibrant colors, daring accessories, and form - fitting cuts and shapes for clothing.

So there is still the twin screen form with a 6 - inch Wacom Penabled E ink panel on the left and a 7 - inch color resistive touchscreen display on the right that are hinged at the edges.

Kohler writes: «The warmth in Davidson's paintings is both related to the strange and inventive forms and color ideas they contain and to subtle decisions such as repainting by hand edges that were initially made using tape.

And yet the intensity and variety of his striking color combinations, the curious vocabulary of his edges (feathered, brushed, smeared, dissolving or hard), and the relative depth and saturation of his colored forms take on qualities of personality.

In the viewing room, Charles Hinman's Sugilite (2013) is a shaped hard - edge minimal painting which as we move is perceived differently: new colors, new facets, new forms, new shadows, as the work is constantly reinvented.

The carefully crafted forms and brilliant, neon - edged colors are both soothing and unsettling, reflecting the double - edged relationship we have with technology: it can both harm and heal.

An abstract form is an isolated form with a certain size, shape, color, texture and edges that has no meaning other than its own qualities of size, shape, etc..

In G.S.F.C. 2.0 (Geometrical Sci - Fi Cyborg), hard - edged geometries filled with solid colors converge with organic lines to create vaguely figurative forms.

Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard - Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors.

The lightness of being in his work, the range of forms, contours, edges, saturations and coloring — and the lightness of the spaces in between his network of slashes, swatches, and other painterly exchanges, is so navigable for the eye that the paintings are airy, permeable, and most significantly, written in a language that is all his own.

The artist applies colors ranging from soft pastels to bright fluorescents — sometimes in playful and visually arresting plaid patterns or all - over flower motifs — to amorphous soft - edged forms that inhabit the space like friendly oversized visitors.

Rooted in the language of architecture, Voisine's paintings, prints and drawings convey a sense of shifting spatial interactions through the use of symmetry, color, surface, and precise, hard - edged forms.

It presents color - driven work in the form of monochrome, hard - edge and color field painting, sculpture and immersive installations.

The four - paneled piece is united by the way the folds in the four individually colored and patterned quilts suggest a circle, as well as a cross that is formed by the edges of the adjoined canvases.

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.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

In his «Eccentric Polygon» series, from 1965 and «66, he embraces asymmetry and bold color, creating forms delineated by painted fields and by the edges of the canvas.

The artists of the AAA were inspired by the bold colors, energetic rhythms, and hard - edge technological forms of the machine - age and the city.

He has always painted with a very hard edge, and with very flat colors, but after graduation and moving to New York, he gradually began eschewing both form and color, aside from black and white.

Still somewhat hard edged, and even more sharp colored, these works coil the forms of the earlier works into something more personal.

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-...]

These clean edge forms are presented in uniform, flat colors running border to border.»

Also referred to as California Hard Edge, the show work was described as featuring «economy of form», «fullness of color» and «neatness of surface», gaining popularity in other corners of the United States and even in Europe.

Together forming an oasis of color, each painting is dominated by a bright tone and finished with the artist's signature slanted edges, pushing the piece into the physical space of the viewer.

Like the contemporary sculptures of Judith Gerowitz (later Judy Chicago), Sixteen Mirrors combines hard - edged, «masculine» forms with a «feminine» spectrum of glowing colors.

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.

Contino's early works are hard - edged geometric paintings (including shaped canvases) composed of thick lines and contrasting solid colors that divide the canvas and form intricate shapes.

Continuing to develop drawn forms, the 1990s introduced outlined geometric forms more autonomously depicted on solidly - colored, shaped canvases: Attic Series III, Study (1990) places an ellipse inside of a parallelogram; Plane Figure Series A (1993) sets two ellipses within a two - color parallelogram; and Curved Plane / Figure VIII (Study)(1995) places two ellipses within a three - color half - circle, cut off a canvas truncated on its right edge.

Though not as well - known as figures such as Frank Stella, Sol LeWitt, or Dan Flavin, Ryman is nonetheless one of the pioneers of Minimalist painting, whose works attempt to empty the painting of content — and color — in order to focus almost entirely on form and process, an idiom in which he has continued to work for some sixty years, long past the demise of Minimalism as a cutting - edge movement.

While green, orange, and black dominate her color spectrum, sharpe - edged forms pierce through the monochromic surface, orchestrating a balance of shape and hue.

Her rounded forms tease us with their gentle restlessness, threatening to change colors chameleonlike at their edges, or tugging at their boundaries seeking to slide into new arrangements.

Tabibian's digital prints combine bold forms of color with hard - edged lines.

Juxtaposing pieces of light - colored canvas allowed him to define the edges of his forms and establish a sense of depth in largely white - on - white pictures.

Rounded Guston-esque forms combined with hard - edge geometry, cryptographic linework, and precise color mixing create images of... read more... «Seattle studio visit: Cable Griffith»

This exhibition demonstrates the advances of abstract color and form that put Prendergast on the cutting edge of American modernism.

In about 1962 block - like forms turned into crisply demarcated color surfaces, which elevate Pfahler to being the sole representative of «Hard - Edge Painting» in Germany.

By highlighting the artists» individual approaches to form, color, composition, material exploration and conceptual impetus within hard - edge and gestural abstraction, Magnetic Fields provides an expanded history of non-pictorial image - and object - making.

Here, a subtle patterned background unexpectedly fuses with the solid - colored and hard - edge forms in the foreground.

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.

Each fragile paper develops its own particular color, the charred edges forming dark lines to frame the translucent squares.

Experimenting with modulations of form, color, and plane, Clark's early abstract works challenged the canvas» edge and extended the visual field of painting into the physical realm of the viewer.

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»

Kenneth Noland was known for his simplified, abstract forms such as chevrons and followed an «interaction of colors» mantra, relying on associations between contrasting and complementary colors to create vibrating edges and dynamic relationships.

Nathlie Provosty created for the show two paintings of intimate scale and one large corner work, each of them sharing the same interest in color, surface, forms, intimacy of material and attention to the edges that define her painting.

Yet here the line of representation inevitably blurs, as the artist nudges his forms toward abstraction and surrealism through softened edges, shifts in scale, lush but strange colors, manipulated perspective, and shapes and imagery that repeat but become altered over time.

For a brief time, his forms became fairly hard - edged, his fields of color relatively unmodulated.