Sentences with phrase «foot square canvases»

The first truly abstract paintings were eight foot square canvases painted unstretched on the floor or stapled to the wall and later put on stretchers, although in my second solo exhibition I simply stapled all of the paintings to the wall — they were not on stretchers.

This series of untitled paintings also introduced a new format into Martin's work: five — foot square canvases, a reduction from her signature six — foot square stretchers, which the artist could no longer handle easily.

At first he employed blue or red, then from 1954 until his death he devoted himself to all - black canvases - typically five - foot square canvases containing nine virtually identical black squares (or other patterns of squares, oblongs or rectangles), none perceptibly differentiated in value.

She considered herself an abstract expressionist, favoring geometric structure of uniform bands of evanescent colour and hand drawing pencil lines on six foot square canvases.

Flat geometric bars or grids, often drawn in pencil on 6 - foot square canvases, are washed in thin oil paint.

Each of the five foot square canvases are covered in a multitude of hand - cut mosaic glass squares that vary in tone from silver to grey to black.

Martin's breakthrough works comprised of 6x6 foot square canvases (a format that would sustain her through the mid-1980s) covered in monochromatic grounds and overlaid by soft graphite lines.

Titled «The 80's: Grey Paintings» — it unites more than twenty grey paintings, concentrating on horizontal divisions of six - foot square canvases, that haven't been exhibited together for more than two decades.

Not exact matches

The people captured on these three - foot, square - ish canvases are a «snapshot of David's life,» explains curator Stephanie Barron, whose portrait also appears in the exhibit.

Sandstorms are not shy about reducing to shreds the camp's sixty 300 - square - foot tents (which are canvas, not, as the Web site claims, linen).

The 60 private, 300 - square - foot canvas tents are improbably equipped with full bathrooms, heating, and even air conditioning.

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

There are six canvases that are about six and a half feet square, one vertical painting and three long horizontals in the group of ten studies.

Each canvas is a five - foot square traversed by a vertical band one - third the width of the canvas, and by a centered horizontal band (of the same width) that crosses over the vertical band.

The largest column - free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.

Once these computer versions are complete, he regenerates them as silk - screens to be printed onto canvases, or, in the case of Art History Is Not Linear (VMFA), 16 acrylic - on - birch - plywood panels that are each 4 feet square.

The color contrasts are startling, as in «Yellow Half» (1963), a canvas nearly six feet square with a solid V of vibrant red bordered by lemon yellow and then a more subtle red, the whole set on a stark black ground; that is, the ground forms two right triangles on either side of the V. Characteristically, Mr. Noland later went back to these V's, as in «Songs: Indian Love Call» (1984), but this time with very painterly effects, crumpling the flat surfaces with broken strokes of thick pigment.

The Chunk series consists of three, six - foot - square acrylic paintings plus two smaller paintings where large portions of the canvas contain black or brown blocky figurative structures accompanied by explosions of straight lines of bright colors with soft round forms capping the ends.

He has been reviewed in ARTFORUM, ARTPAPER and ART ON PAPER and is included in the permanent collections of both the Dallas Museum of Art and the Museum of Fine Arts in Houston, as well as a host of corporate collections, including a massive 700 - square foot canvas in the Dallas Omni Convention Center Hotel.

Which means several big — roughly six - foot - square — canvases will be consigned to oblivion.

The main gallery will feature the centerpiece of Hancock's show, a grid - like arrangement of eight five - foot - square canvases installed on a wall painting that references the underworld battleground.

Off White Square (1973), above, is a monumental canvas measuring roughly twenty - five feet in width.

Each is five feet square, acrylic on canvas, and hangs on a wall eleven feet square.

Reducing her canvas size from a six - foot to a five - foot square so that she can maneuver it more easily, Martin is concluding her life work with an image that is subtly more intimate and yet powerfully expansive.

The walls of his 7,500 square - foot studio are literally filled with file boxes that are filled with carefully noted and labeled scraps of paper and other ephemera — all of which forms a personal encyclopedia describing the world he knows and providing a vast catalog of micro-tools to create his canvas universes.

The sympathies between their arts lie in the extremity of their geometric reductions, which Reinhardt eventually also applied to color by reducing it to minutely differentiated squares of black on a five - square - foot canvas; but both Albers and Reinhardt envision painting as an art of geometric combinations of color.

«Power Plant,» a nearly 6 - foot - square canvas by Barry Le Va, evokes Philip Guston and H.C. Westermann and filters both through Le Va's lifelong focus on the power of line and its capacity for drama.

Sarcastically gloppy and garishly colorful, they are all brag and bluster — grand gesture, stunted by canvases less than a foot square.

In his first museum exhibition in Los Angeles, Simmons's «canvas» will be the five large 440 - square - foot walls in CAAM's grand lobby, where he is creating a site - specific painting that includes titles of vintage silent films that feature all — African American casts.

And while it's tempting to raise the specter of formalism today, it's perhaps more apt to suggest that the nearly five - foot - square canvases call to mind a foreign language that's almost been forgotten.»

«Falling Blue,» 1963 [4], is six feet square, oil and pencil on canvas which actually looks like coarse, dark linen.

A grid of 32 canvases, with simple abstractions (some elegant, some tossed off), text and photos (a prison cell, pills), each 2 feet square, looks like a desktop of icons waiting to be clicked open.

From intricate, 10 - square - inch acrylics on paper to large paintings on linen and canvas that exceed five feet in height, the works on view exemplify Inoue's signature, staccato brushstrokes, and her fluency with paint.

Working primarily with oil on canvas, Birch has also ventured into film and installation work culminating in some particularly notable large - scale projects, including the 20,000 square feet multimedia installations HOPE & GLORY: A Conceptual Circus (2010) and Daydreaming With... The Hong Kong Edition (2012) at the ArtisTree, TaiKoo Place, Hong Kong.

Just over five feet square, the canvases are oceans of graphite, layers and layers of lines creating a surgical composition of space.

K (1979), five foot square, bisected by an off vertical line achieved by joining two canvases black to the left and blue to the right, with the green of the painted edge just showing as a narrow line down the (off) centre.

Happy Holiday is a five - foot square abstract painting on canvas by the Canadian — American artist Agnes Martin, signed and inscribed by the artist on its verso.

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

Made by a trio of painters — Lois Dodd, Walker Buckner, and Suzanna Coffey — these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.

Hedrick's Black Paintings culminated in 1967 with «War Room» — an installation of a group of four eleven - by - eleven foot black canvases, each filling a wall of the room facing inwards, then arranged into a square in the shape of a room with an entry door.

This 12 - square - metre (129 square - foot) portable tent features marine - grade plywood, a thick, rot - proof and waterproof canvas covering, telescopic roof poles, a crown cap, a removable door — all with a tool - free assembly that sets up in under two hours (with three people though)-- making a structure that is surprisingly balanced between strength, spaciousness and excellent maneuverability.

When interior designer Mallory Mathison Glenn was tasked with decorating a 14,000 - square - foot blank canvas, the spirited designer, known for her pretty punches of color, was more than ready to bring the homeowners» colorful vision to life in their vast Buckhead estate.