Sentences with phrase «edge grid paintings»

Then Minimalism came along and I was looking at Sol LeWitt and making hard - edge grid paintings.

Not exact matches

Along the edges of the grid, numbers painted on boards mark out Cartesian coordinates — the horizontal edge is x, the vertical edge is y — so that the whole wall is a three - dimensional version of the graphing planes that generations of middle school math students have dutifully plotted out in...

For those unaware, Picross is a blend of Sudoku and Painting - by - Numbers, with you using the numbers around the edges of a grid to fill in the squares and create little pixel art images.

By marking the edges of the paintings, she calls attention to their shape as significant, while the nebulous contents of the pictorial field — lacking the order and legibility of the grid — offer few clues to its inner structure and encourage the viewer to lose sight of place.

This selection of paintings from the 1970s shows a range of Minimalist - inspired experimentations with abstraction: hazy, striped plexiglas paintings by Thomas Chimes (1921 - 2009), a Day - Glo round - edged canvas by Ralph Humphrey (1932 - 1990), atmospheric grid - based oil paintings by Warren Rohrer (1927 - 1995), subtly - lined acrylic monochromes by Sean Scully (b. 1945), and a pencil drawing by Sol LeWitt (1928 - 2007), are seen in relation to more recent paintings by Lee Ufan (b. 1936) and Pat Steir (b. 1940), who continue to explore the legacies of line and gesture in abstract painting today.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

Annell Livingston's hard - edged horizontal, vertical, and diagonal gridded paintings are filled with a multitude of hand painted gouache shapes.

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

In the piece, the kitchen is empty; in the nursery, a monster fills the cradle and a giant black spider climbs over an open egg shape; and in the studio, the artist's husband, naked except for his cowboy boots, models for an abstract painting that's a miniature of «Silver Windows» (1967), a grid - based work from the hard - edge period (that's also included in the show).

Compositionally, he divides the painting into a grid consisting of four rows of irregularly sized rectangles, with the smallest ones running along the bottom edge.

Some paintings depart from two dimensions through illusion, adding angled planes to the edge of his gridded rectangles, while sculpture takes the stacked colors into the center of a room.

Monumental in scale, the BLOCKHEADZ paintings feature square and rectangular cartoon faces in loose grid patterns that recall hard - edged abstraction and color field paintings.

By treating the words as shapes, den Breejen generates conceptual narratives and explores a personal take on movements such as minimalism, «action painting,» grid and color - field painting, and hard - edged geometry.

Mark S. Bradford makes his New York debut with a pair of beautiful abstract paintings, their surfaces covered with edge - to - edge rectangular bits of paper forming linear grids.

Individual rooms feature 24 hard - edge abstract paintings, drawings and reliefs by Ellsworth Kelly; 18 figurative and abstract paintings by Gerhard Richter; 14 silkscreens on canvas by Andy Warhol (most from the crucial 1960s); 11 Photorealist artist portraits in various media by Chuck Close; seven Agnes Martin grid and stripe paintings (installed in a heptagon - shaped room, recalling the sublime space at the Harwood Museum in Taos, N.M., where the artist once lived); five geometrically ordered Minimalist sculptures by Carl Andre; and five monumental mixed - media paintings of a decaying German mythos by Anselm Kiefer (plus one large model airplane in lead, an emphatically heavier - than - air machine conjuring the cruel historical weight of the failed Luftwaffe and its celebrated pilot artist, Joseph Beuys).

Large graphite rectangular shapes with rounded edges are drawn at the center of each painting with wide borders of fine grid like patterns.

In the early 1960s, a few years after relocating from New York to New Mexico, Martin began producing paintings of grids composed of horizontal bricks, so to speak, that run from edge to edge, both vertically and horizontally.

In another, «205,» irregular rectangles of wood crowd into the edges of a bi-color painted grid.

Joanne Mattera utilises a diagonally skewed grid as a structuring mechanism in her Chromatic Geometry series of paintings, enabling her to realise a set of diamonds intrinsically linked to the edges of the support, truncated by coloured triangles and held in a pictorial space by the addition of a central horizon line that divides the painting into two different coloured grounds before which the triangles appear to float.