Sentences with phrase «edged painting through»

On view will be paintings that explore Valledor's creation of perceptual space within hard - edged painting through his use of geometric forms and dynamic color combinations.

Not exact matches

Linda — you can sand the paint off in the spots you'll want to later distress — edges, corners, etc. — before you paint so that the turquoise won't show through.

Once the gold paint is dry and before covering the console table with the black chalk paint, I brushed vaseline on the edges and corners where I wanted the gold paint to show through.

Isaacson also elaborates on Leonardo's innovative approaches to painting, such as sfumato, the shading of edges through shadow rather than lines.

The watercolor-esque paints that border and dot around the edges of the screen as your party enters a painting also add a warm feeling as though you really are playing through art.

For example, one level renders most of the environment invisible, forcing you to paint your way through the stage while making sure not to fall off any edge.

One of the hallmarks of that type of abstract painting is the «all - over» composition, in which the paint reaches all four edges of the canvas equally, and the eye roams through the picture in a nonhierarchical way.

With edges that look as friable as leftover slices of wedding cake, the paint shards offer a destabilizing context for these disorienting images, so thoroughly imbued with a tenuous «Through the Looking Glass» spirit themselves.

Sam Gilliam: Hard - Edge Paintings is on view at David Kordansky, 3143 S. La Cienaga Blvd., Los Angeles, through May 11.

Associated with Op Art, Hard - edge painting, Color Field painting, Lyrical Abstraction and Abstract Expressionism, Poons has challenged critical expectations throughout his career, transitioning through several distinct phases of work.

The line cutting through the oil paint is never a clean dark path — the stylus makes an edge and the oil paint moves away in its own fashion; also the areas of white oil color have their own character and vary in density resulting from Lee's method of application.

Her process is evident in the finely calibrated geometries of her hard - edged paintings from the early 1970s, through the striped and later color blocked works of the»80s and»90s.

Conversely, I once saw a very small painting by Jake Berthot, a pocket - book - size picture that was a complex layering of different greys with some wonderful reds breaking through the field and also at the edges of the canvas — it seemed like I was looking at something almost infinite in its dimensions.

[33] Lyrical Abstraction, Conceptual Art, Postminimalism, Earth Art, Video, Performance art, Installation art, along with the continuation of Fluxus, Abstract Expressionism, Color Field Painting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through thPainting, Hard - edge painting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through thpainting, Minimal Art, Op art, Pop Art, Photorealism and New Realism extended the boundaries of Contemporary Art in the mid-1960s through the 1970s.

There were little burrs on the edge of the paint that were so miniscule and then sometimes at the end of the line there was a little spiral of curled up paint that had been carved out through the incising.

WHAT: «Jack Beal: Hard Edge Paintings 1968 - 1972» WHEN: Through February 28 WHERE: George Adams Gallery, 525 - 531 West 26th Street, New York

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.

A fascinating 1972 documentary, directed by Emile de Antonio, examines the development of abstract expressionism through Hard Edge and Color Field painting to Pop Art.

The reassuring visual equivalent to the ping - like sound of sonar echoing through a stack of high - octane colour calibrations and rebounding off the painting's edges could easily start to become dissonant.

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.

Post-War Abstraction: Our inventory also contains examples of abstraction from the 1950s through the 1970s, including Abstract Expressionism, Op Art, Washington Color School and California Hard Edge Painting.

Through the 1970s the place of painting at the leading edge of the visual arts was challenged by developments in conceptual art, installation art, sculpture, video and performance (see Contemporary Trends in Art; Video Art).

In his more recent body of work, titled Flat Screen Nature (2012 — current), Goode uses an industrial hand saw to cut through sheets of painted fiberglass, creating allegorical landscapes of jagged edges and menacing peripheries; the artist's visual vocabulary comes full circle to represent our environment's vulnerable sky, land, and sea.

So, as we pass through this collection of around 40 drawings and paintings, we're supposed to look for clues and hints of the later brilliance and construct a narrative or timeline that leads to its blossoming (which, here, comes in the form of At the Edge of Town (1986 - 8), a painting showing a figure emerging onto the kind of semiabstracted landscape for which Doig is best known).

But as you move through the painting notice the veils of color laid on over a background thinly applied and lifted away in places to suggest light in the black darkness that creeps in around the edges.

He is also interested in the emblem's formal connections to hard - edge abstract painting of the 1950s and 60s through its color fields and emphasis on shape and dimension.

With photography now going through the same identity crisis that painting went through a century and a half ago at the advent of photography — the question then was «what's special about painting the world realistically when you can take a photo,» now it's «what's special about taking a photo when everyone takes a photo of everything all the time» — artists have been searching the edges of the medium to find a compelling way forward.

Saturated with California cool and New York edge, the electricity that runs through Mary Heilmann's paintings is super-charged.

Artist, curator and writer, Matthew Deleget has described Hill as being «on the leading edge of a group of contemporary artists who are working with new abstraction, issues of painting, and pushing those in really compelling and interesting new directions, particularly through the filter and through the lens of photography and digital media.»

Adjacent lines converge at the paintings» edges to form a series of multicolored wedges of varying dimensions flip - flopping through each image.

Morris looks at Downes» move from hard - edge abstraction to landscape painting through the prism of his [Downes»] book In Relation to the Whole: Three Essays From Three Decades, 1973, 1981, 1996.

Best known for his fastidious paintings of geometric solids composed by chance through a system involving the roll of a die, Daniel Aksten's work in Support, Edge, Variation continues to stress the conceptual end of painting, as container of visual experience, true unto itself.

It's through works like Homage to the Square — works that existed over a long period of time, adapting to the ever - changing environment in which they were conceived — that the sharp edges of a painting, of a poem, of a dancing body, became smoother, if not legible.

In these most recent paintings, I have intentionally painted elements of that obscuring atmosphere, exploring realism through the edge of abstract expressionism.

Created through a variety of methods and materials, including painting, printmaking, assemblage, and sewing, with a flattened, pop - sensibility and purist coloration, LaChance's works - a homage to the «Edge City» - celebrate a sort of nostalgic revision of the past - one that imagines the future as a deconstructed, pop - like, dream - space.

In Boca sobre tors / Mouth on torso the linear shape of a mouth is scratched into a body of paint that swells to the edges of the wooden board, revealing curves of hips and chest, as if personified through the seismic energy of a mudslide.

As with Noland's earlier work, he continued to apply color as a physical material substance, but unlike his earlier hard edged paintings which rely on fields of dense color, for Into the Cool he used color through subtle tone and transparency.

His mature style is narrow but intense: water and dirt are invoked through washes of ultramarine blue and burnt umber which combine to form a glowering near - black and bleed out at the edge of geometric forms, generating a trembling beauty due to the differential absorption of the various layers of thinned paint.

These paintings from 2005 to ’07 are a catalogue of The Day After Tomorrow — style weather calamities: a truck chugging through a blizzard; a fire throwing a big black cloud up at the horizon; the edges of neighborhoods collapsing into mudslides; rusting ships marooned in a desert that was once the Aral Sea; a car on a muddy road with its brake lights glowing as a great big brown beast of a tornado blenders the landscape.

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.

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.

Areas of white canvas are often left to show through, and in later works, paint is sometimes confined to the edges of the canvas.

Mr Kelly evaded critical attempts to classify him as a Color Field, hard - edge, or Minimalist painter, has redefined abstraction in art, establishing himself through his drawings, paintings, sculptures, and prints as one of the most important artists working today.

Rendered in thinly applied automotive paint on aluminium sheets folded at the edges to form large industrial - looking trays, these impressionistic works, with their visible brush marks and gestural drips have, as the exhibition's title hints, the feel of half - glimpsed stories, the clarity of their message faded through time.

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.

With its silver foil - covered walls and geometric light fittings, «The Field» was controversial, surveying the hip ascendancy of international style late - modernist abstraction in the Australian context through minimalist, geometric, hard edged and colour field painting and sculpture.

Despite their differing aesthetics and preferred mediums, this close knit community speaks the same cutting edge visual language through paintings, drawings, installations and mixed - media work.

Valledor was known for his hard edge painting and interest in space as explored through color and geometry.

Richard Bruland Peripheries Lora Schlesinger Gallery By Amy Kaeser Through February 25th Peripheries, Richard Bruland's fourth solo showing at the Lora Schlesinger Gallery, located in Santa Monica's Bergamot Station, presents a new series of paintings which focus on the way the eye sees and perceives, and what lays on the outer edges of our...