Sentences with phrase «first big painting»

Then came the first big painting.

Of the roughly two dozen in that first big painting, only a handful connect the top and bottom edge.

Even before her first big paintings, her titles allude to birth and nature.

Not exact matches

A new crib, a rocking chair, a change table, and a fresh coat of paint that coordinates with the bedding and curtains are just some of the bigger details that you plan for your baby's first bedroom.

, «Clear on Calories,» Big Soda seems to think that placing calorie numbers on the front of beverage containers and vending machines equals good nutrition and «has painted the voluntary commitment as an answer to First Lady Michelle Obama's call to eradicate childhood obesity.»

The demise of Forest Scene with Brook illustrates a larger issue: coming up with the materials to make a painting permanent may be as big a challenge as painting it in the first place.

Choosing a paint color is a big decision when painting your cabinets, and you want to make sure you get it right the first time.

Using chalk paint I have found the first coat looks pretty horrible, the second coat a big improvement, and by the third coat the color and coverage are gorgeous.

Or it might simply be that his characters» biggest problem is which priceless painting to sell first, and as such they are a difficult family to care about.

The life of the famed artist comes to the big screen as the first fully oil painted animated feature film.

A Bigger Splash — the title presumably taken from David Hockney's celebrated painting of a California pool — marks director Luca Guadagnino's first feature since his breakthrough, I Am Love.

The big painting of Jupiter was the first painting I worked on using my drawings — an awful thing to have done so soon.

Just to cover the historical end of the spectrum, there are two big museum shows: Color as Field Field: American Painting, 1950 - 1975 at the Smithsonian, the first full show dedicated to the color field movement (OK, so the show's not in New York, but it's full of New Yorkers); and Color Chart: Reinventing Color from 1950 to Today at MoMA.

When I first saw Katharina Grosse's paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat — that they looked better on the computer screen than they did at the gallery.

The first Voulkos image you post of PV's sculpture — Little Big Horn 1959, reminds me of a Philip Guston painting but I guess that's not surprising with the abstract ex.

For his first exhibition in American in ten years, he has completed fourteen big paintings of unrelenting blackness since late 2012 alone, with a single date assigned to every one.

A 37 - year - old Art Center graduate who was in Sterling Ruby's class, Joshua Nathanson is only now starting to get attention — he's currently having his first solo show at Various Small Fires — but the timing is fortuitous, because if Ruby's rambunctious sculptures and big - sky paintings capture the L.A. of the aughts, Nathanson's thoughtful, computery, sleek, and telegraphic paintings exemplify the city's present - day art moment.

SH: Yes, it's a triptych and it is the first time I have made such a big painting.

When I started making collages — and they were so small at first — people used to say: «Oh, these would be great as studies for a big painting.»

However big his paintings might get, and he showed some more than twenty - five feet high at his first museum show at the Corcoran, they aren't going to be about their labor.

A big thank you to Staci Boris from the Elmhurst Museum for doing such an incredible job with New American Paintings first ever museum show... all 40 artists from last year's Midwest Issue are included.

Notably, «Big Ox,» the large and frequently reproduced work from this series, is the first painting one sees upon entering the museum, introducing and announcing the exhibition.

In the first gallery, we can compare the different styles and emotional urgencies in three big paintings by Mr. Fischl, Mr. Schnabel, and Leon Golub.

I remember when he made his first big sale, the word went up and down the street like wildfire: «Bill sold a painting!

«At first you say, Oh, a mountain painting with a skier, and then you suddenly think, It's such a big mountain and such a small skier.

Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.

... That was the first moment when I realized it was more important than just me putting up some paintings; this was a big opportunity to look at abstraction in a very different way, at who was able to participate and who was not.

DK All my first paintings were very big.

In the first room of the «Handpainted Pop» show at the Whitney, two big paintings by Grace Hartigan boil over with energy.

It was there that I exhibited the big paintings for the first time.

Photo: Richard Schmidt) As we make the journey through Hockney's oeuvre — one that the artist has also clearly enjoyed revisiting — we move from his formative pictures as a student at the Royal College of Art in London, through to the breakthrough Los Angeles paintings — typified by A Bigger Splash (Hockney first moved to the Hollywood Hills in 1979)-- to the first big room of the show: a stunning display that reunites Hockney's celebrated series of large double portraits.

There are two galleries and we have painted big stripes all around the first room and built two little rooms — 5 × 5m — in the middle of that big space, which is decorated with the modules from the first room on the outside.

Painted using one of those wheeled contraptions that mark out football pitches and sports fields, the line trundles from under a closed lift door, makes its way splashily up a swanky staircase — passing a Lawrence Weiner work that repeats the same phrase, «WHOLE CLOTH STRETCHED TO THE LIMIT», on the wall in big letters on every level — makes arcing oxbow detours across the concrete floors, and comes to a stop, where the machine ran out of paint, on the first floor.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Her first loves are Salvador Dalì and Wojtek Siudmak's big canvases, full of absurd and strange creations, painted in a divine way.»

MR. RUSCHA: No, the first painting like that that I did, it had the same format, about 120 inches, and it maybe was a little bigger than the Standard Station, slightly bigger.

The works include an installation featuring paint which is left to dry in plastic trays and a film about a remote village in Peru.In the next few days, the great and the good of the art world will flock to Venice for the 55th Biennale, the world's biggest contemporary arts festival.Curated by Glasgow - based gallery, the Common Guild, the Scottish show marks the tenth anniversary of the first Scotland + Venice exhibition, and continues to affirm Scotland's prominence in the world of contemporary art.

In 1965 at the First World Festival of Negro Arts, held at Dakar, Senegal, Bowling's painting «Big Bird» won the Grand Prize for Contemporary Arts.

The London exhibition of work by Paul Klee in 1945 seems to have had a big impact, with Pasmore's first 1948/9 abstract works of small coloured triangles and squares looking very similar to Klee's painting from two decades before.

I mention all these details as an introduction to the exhibition Ed Clark: Paintings at the Tilton Gallery (January 10 — February 18, 2017), three years after his first show with the same gallery, Ed Clark: Big Bang, which was organized by David Hammons.

On view will be contact sheet of details for Big Nude, 1967, the inspiration for Close's first large - scale painting based on a photograph.

Emerging black artists starred last month at the Armory Show, New York's biggest contemporary art fair, where Nicodim Gallery sold out of paintings and sculptures by South Africa's Simphiwe Ndzube on the first day...

The first floor of the exhibition features wow - factor conjunctions in the manner of Jean - Hubert Martin's work at La Maison Rogue: behold, a Basquiat paired with spotlit prehistoric Menhirs from southern France; a medieval sculpture of a Madonna and child paired with a big, white, gaping circular Anish Kapoor; rods studded with healing crystals by Marina Abramović alongside a painted 19th century palmistry illustration.

Other speakers included Chuck Close (who credited Friedman for launching his career with the purchase of «Big Self - Portrait,» the first painting he ever sold); Claes Oldenburg (who raved about the Minneapolis Sculpture Garden), Ursula von Rydingsvard (who made the party favors) and museum directors Adam Weinberg (Whitney Museum of American Art), Richard Koshalek (Hirshhorn Museum and Sculpture Garden) and Olga Viso, the Walker's current director.

Her first big break was having a painting included in the Annual Painting and Sculpture Exhibition at Whitney Museum of American Art, New York, painting included in the Annual Painting and Sculpture Exhibition at Whitney Museum of American Art, New York, Painting and Sculpture Exhibition at Whitney Museum of American Art, New York, in 1971.

2008 has been a big year for DoN: co-chair of the Absolutely Abstract committee at The Philadelphia Sketch Club, membership in the Plastic Club and the Da Vinci Art Alliance, paintings, drawings and photos included in shows at Off the Wall Gallery @ Dirty Franks and First Impressions in Salem NJ, a one - person show at The Beauty Shop Cafe, produced videos for Paul DuSold, Henry Martin and the Philadelphia Sketch Club, DoNArTNeWs is part of Culture Pundits and a successful open studio as part of Philadelphia Open Studio Tours.

«This big painting first I started from that rapid drawing.

• Minimalism (fl.Late 1960s, 1970s) The first big postmodernist art movement, this embraces paintings by outstanding postmodernist artists like Robert Mangold (b. 1937), Agnes Martin (1912 - 2004), Ad Reinhardt (1913 - 67), Brice Marden (b. 1938), and Robert Ryman (b. 1930), and a number of avant - garde sculptors.

Satz was not the first artist to make smoke paintings, but he has certainly done them bigger and with more decorative beauty than anyone else.

Cards on the table, he came to the fair with an electric geometric painting by Peter Halley that became one of the first day's biggest buys when it sold for $ 160,000.