Sentences with phrase «fabric dyed floor»

Polly Apfelbaum's synthetic velvet and fabric dyed floor piece, «Bubbles», recently acquired by the Princeton Art Museum, is currently installed and on view.

Not exact matches

Connors mostly uses raw canvas, often taking rubbings from his studio floor, pouring layers of paint into the fabric like dye, or using one wet painting to imprint another.

Comprised of hundreds of individual dyed fabric pieces, Apfelbaum \'s installations reference modern art history — the 1950s poured works of Morris Louis and Helen Frankenthaler, and Lynda Benglis \'s latex floor pieces.

Creating what she calls «fallen paintings,» many of her works are shown on the floor using vibrant hand - dyed fabrics.

Often arranged on the floor, spreading around corners in indeterminate shapes, Apfelbaum's forms comprise intricate, nearly psychedelic layers of dyed fabric, as if myriad smaller paintings had sprung from a cental cluster of colorful shapes.

Apfelbaum's newest «fallen painting» floor collages are undulating amalgams of cut and dyed fabric.

The artist's signature fabric material, crushed 4 way stretch synthetic velvet, is used to produce the sprawling floor arrangements, with small pieces of the material meticulously cut into shapes around dye spots and clusters.

Polly Apfelbaum (b. 1955) is best known for her large - scale installations and «fallen paintings,» compositions of dyed synthetic fabrics that she places directly on the floor.

Taking the forms of videos, a colored fabric installation, a rope and rock assemblage, charred and dyed fur, and alchemical experiments on canvas and the gallery floor, these artists luxuriate in materiality while challenging the medium specificity of painting.

The first museum survey of the artist's «fallen paintings,» as Apfelbaum calls her floor - bound installations of dyed fabric and other materials that flood architectural space with color.

Noted for their touring outdoor exhibitions, the group employed a variety of unusual materials in their works, such as stones, waxed fabric, carboard and rope, and the works themselves were often folded, crushed, burned or dyed and exhibited on the floor or hung without a frame.