Sentences with phrase «first shaped canvases»

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

The first shaped canvases have a scale, creepiness, and beauty that stand out compared to the fussiness of her paintings from the early 1970s and of her later work as well.

He still uses curves, like Stella's Protractors or the ovals of Ed Clark, an African American often credited with the first shaped canvases in the 1950s.

Sánchez created her first shaped canvas in the early 1950s, and subsequently developed her signature style of stretching canvas over wooden armatures while living in Havana, New York (1962 - 1966; 1968 - 1970) and Madrid (1966 - 1968).

The first shaped canvas nudes appeared.

That same year, Brata exhibited the first shaped canvas painted in the United States; it was a work by Clark.

Yellow Piece (1966), the artist's first shaped canvas, represents Kelly's pivotal break with the rectangular support and his redefinition of painting's figure / ground relationship.

J.E. - You created your first shaped canvas in the late 1950s, an innovation that definitely influenced contemporary art.

Not exact matches

They were his first forays into a career - long obsession with diagonal, twisted, or otherwise irregular canvas shapes.

She first received public recognition in New York when her richly - colored canvases holding single shapes were prominently featured in the New Image Painting exhibition at the Whitney Museum in 1968 with works by artists such as Susan Rothenberg and Joe Zucker.

One of the first American artists to investigate the aesthetic potential of the irregularly shaped canvas, Neil Williams initially depicted hard - edged geometric forms, but eventually turned to a painterly abstract style.

Murray introduced her first serious series of thickly painted, shaped canvases in the late «70s.

If these paintings, like all of Kelly's shaped canvases, seem simple at first sight, that's because Kelly has already done the hardest work.

His unique hard - edge shaped minimal canvases have evolved and with this his first six decade look we see how seamlessly he has hued to an identifiable and personal language.

Joan Snyder and Elizabeth Murray may have chosen the first course, even with shaped canvas, but they dare one to overlook the influence of women artists.

The first London solo show for the Italian artist focuses on large - scale shaped relief canvases...

However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T - shapes.

She is primarily recognized for her shaped canvases, first created in Havana in the 1950s and further developed while living in Havana, New York City, and Madrid.

On view for the very first time will be Jennifer Bartlett's large - scale shaped canvas Moth (2001), an important work from a little - known period of production for the artist.

Sarah Crowner, known over the last decade for stitching together cutout shapes of plain or painted canvas to form rectilinear abstract paintings, is sticking to first principles.

She first gained attention in the mid -»60s with white, shaped - canvas monochromes and light box - like constructions made from Plexiglas and fluorescent lights.

Lewis was an abstract expressionist, and at first sight his black - and - white canvas appears entirely abstract — arrays of geometric white shapes flickering against sepulchral darkness.

My first impulse was to be completely dismissive, yet in retrospect I was taken by the formal qualities: the size of the canvases, color choice, the way the shapes relate to each other, the brush strokes.

While first utilizing cloth, Tuttle's experiments led him to make a variety of irregular shaped canvases that were dyed and stitched.

A couple of the paintings, such as «Hebe» 2011 (pictured) have been split into two sections — at first, the cut is hard to perceive; it disappears within the shadows and shapes depicted on the surface of the canvas — treading a careful line between an impulse towards sculpture whilst asserting the flatness of the painted surface.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

The exhibition is the first significant presentation to revisit Posen's breakthrough shaped canvases and related paintings since his debut at New York's gallery O.K. Harris, nearly five decades ago.

This publication is the first to comprehensively trace this thread in Bartlett's practice, reproducing her newest paintings on canvas, the Blob paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 - 2010 room - size installation Recitative.

This exhibit is the first to comprehensively trace this thread in Bartlett's practice, debuting her newest paintings on canvas, the «Blob» paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 — 2010 room - size installation Recitative.

Adhering the book pages to the canvas happened first, then Ala un-stretched the piece and executed an archival pigment print over the surface of the book pages — the blue galactic scene in the shape of the star.

The first time I looked at the work of Cuban - born artist Zilia Sánchez I was struck by how simultaneously assertive and retiring her massive shaped canvases are.

In the early 1980s, he produced his first «Metal Works,» in which he shaped canvases and cut metal to create abstract three - dimensional images.

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

And Paul Brach, writing for Art Digest, singled out Cross Section of a Bridge, Joan's first self - consciously important canvas, for its «tense tendons of perpetual energy» and «wide arc - shaped chain reaction of spasmodic energies.»

Inside these baroque forms are uniformly sized blocks, each square its own pure color, sometimes only subtly distinguished from neighboring colors... Gordon's shapes are carefully molded in heavy impasto paint with a palette knife, a bas - relief in color that pops off the canvas... [Diamond] uses nature - based drawings to create forms that at first glance resemble figures but after closer study escape into the realm of the imagination.

First would come the shaped abstract canvases of the late American painter and sculptor Ellsworth Kelly.

In a clever move on MoMA's part, you can see out from the show to an early Frank Stella painting in the museum's permanent collection galleries; Mr. Stella was the first American artist to make shaped canvases, in 1960.

The Wild could also be regarded as one of the first of the shaped canvases that became popular over a decade later with the arrival of artists such as Frank Stella and Kenneth Noland.

He has also been credited as one of the first artists to use shaped canvases.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

At first they seem to hail from a time when Frank Stella's shaped paintings, with their repeating bands of metallic color, had painters doing everything possible to avoid conventional paint on canvas and square corners.

An African - American painter known for his shaped canvases, Edward Clark (b. 1926) was one of the early Abstract Expressionism New York painters and first turned to abstraction while in Paris in the early fifties.

Maintaining a persistent focus on the dynamic relationships between shape, form and color, Kelly was one of the first artists to create irregularly shaped canvases.

At Ad Minoliti's recent show at Cherry and Martin — her first in Los Angeles — cyborgs, animals, and geometric shapes converged in the form of wall murals topped by painted canvases.

This 45 - year - old Brazilian artist makes abstract paintings by first painting shapes on a piece of plastic and then pressing the paint side of the plastic onto a canvas, thus transferring the images.

Ron Gorchov was the first to do shaped canvases.

Since a museum's schedule is booked years in advance, Grynsztejn won't get to organize her first big show until spring 2004, a retrospective of American postminimalist Richard Tuttle, though she has just installed an unstretched shaped canvas by Tuttle in the permanent galleries next to the Smithson.

In his first one - man show at the Peridot Gallery in 1950, he presented stained and «dripped» canvases, influenced by his close friend Jackson Pollock, in which stains made on the reverse side of the canvas were used to generate «spontaneous» painted shapes on the front.

The museum first acquired one of his shaped canvases in 1973 through the generosity of Mr. and Mrs. S. M. McAshan, Jr.; in 1982 the MFAH commissioned the artist to fill its Mies van der Rohe galleries with a series of temporary murals for the Stella by Starlight gala (the 15 maquettes for these murals have been preserved in the museum «s collection); in 1987 Stella «s first out - of - doors sculpture, Decanter, was installed in the Lillie and Hugh Roy Cullen Sculpture Garden through the generosity of the Alice Pratt Brown Museum Fund; and in 2005 The Joseph and Sylvia Slifka Collection donated Stella's Lunna Wola I, 1972.