Sentences with phrase «for shaped canvases»

Murray is particularly well known for her shaped canvases, which date from 1976, on to which are painted both figurative and non-figurative elements.

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.

Frank Stella (b. 1936) Minimalist, Hard - Edge painter, noted for his shaped canvases and printmaking.

With a career spanning sixty - five years and inclusion in the 2017 Venice Biennale, Zilia Sánchez is known for shaped canvases made of material stretched over handmade wooden frames.

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.

Known in the 1950s and 1960s for his shaped canvas abstractions, Farber began painting still - lifes in 1974.

[7] She is particularly noted for her shaped canvas paintings.

Not exact matches

I had seen several ways of using buttons to create a frames canvas for Christmas, so I played around and made this heart shaped creation.

«Your brows shape your face and set the canvas for your makeup,» says Laura Hittleman, corporate beauty services director at Canyon Ranch in Tucson, AZ..

The shape looks similar to my other beloved ASOS dress and the simplicity of the design will be a great canvas for jewelry this fall.

Primer has so many uses - it evens out your skin's texture, provides a bare canvas for applying makeup and keeps your makeup looking in tip - top shape for hours.

Lovely on its own - with a swingy shape, elongating seams, and a curvy hemline - it's a blank canvas for your favorite accessories.

Designed initially to replace the iconic beetle, the boxy shape was a perfect canvas for adding GTI specific styling tweaks.

Inside, there's also plenty of space to lounge — the sunken living room features a large, crescent - shaped sofa, as well as white walls that act like a blank canvas for the space's colorful artwork and home accents.

Gottlieb, for instance, tells Goodnough that painting is «not only a matter of colors and shapes on canvas, but images made visible and integrated» (p. 58) while Baziotes gives a contradictory statement, remarking that «reference to existing objects is not particularly helpful in contemporary painting.»

In between are too few of the swaggering compositions — of target - like concentric stripes, designs based on compasses and protractors, and shaped canvases that echo the shapes painted on them — that made Stella a god of the sixties art world, exalting tastes for reductive form, daunting scale, and florid artificial color.»

Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

The extension of a black band of textured tape (crushed glass added grit) across the edge where the painting ends and the wall begins shows a disdain for boundaries comparable to Frank Stella's treatment of the shaped canvas.

Who knew how easy it is to make shaped canvas, and who knew how easy it is for light to penetrate?

I believe a more decisive breakthrough for Bureau occurred in 2014 when he requested that his supplier provide canvases in eight different shapes.

«A shaped canvas was, in a funny way, a big jump for me,» he says now.

In his work, Quaytman was an inventive dramatist with his palette who brought a sculptor's flair for form to the game of the shaped canvas.

A pioneer in painting and former professor at Bard College, Murray is known for distinctively shaped canvases that break with art - historical tradition and blur the lines between painting and sculpture.

The basic support for paintings was rethought by artists like Ralph Humphrey (shaped canvases) and James Havard (substituted a molded plastic support for canvas).

Curvilinear and circular shapes became another one of Valledor's many tools in his kit of economical means, along with color and shaped canvases, for exploring an expansive topic such as space and cueing viewers to look beyond the literalness of his compositions and see another world beyond.

This is not, however, to say that there is no visible progression in Poliakoff's work, for the series of four canvases on the main wall, each titled Composition abstraite (1968) and each linked by a recurring claw - like shape, are undoubtedly the most accomplished of the show.

A third dimension enters with shaped canvas and molded plastic, like billboards, much as Roy Lichtenstein leans on magazines for his Ben - Day dots.

In The Time Traveller, for instance, an auratic face gazes into the distance, while the shapes that emerge from the canvas offer a portal that is at once a window, a shadow or a reflection.

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

Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray - painted black lines as structure.

An original member of Park Place, the historic New York artist collective, Novros is well known for his large, abstract paintings on irregularly shaped, multipaneled canvases.

Beginning with black and white drawings of biomorphic shapes and gestural marks on gridded, solid or patterned grounds, the artist makes color studies that become maquettes for his large - scale canvases.

In SHARAKU (date unknown), for instance, the length of the title and range of letters used have resulted in one of the more colorful paintings in the show, with multiple different shapes and hues dancing across the canvas.

«Edward Clark: For the Sake of the Search,» Belleville Lake, MI: Belleville Lake Press, 1997 Feldman, Anita, «Ed Clark and the Abstract Shaped Canvas: A Memoir From Edward Clark: for the Sake of the Search, «1997 Joans, Ted, «Ed Clark and I, «From Edward Clark: for the Sake of the Search, 1997 Holg, Garret, «Ed Alert,» Chicago Sun Times, Sep 28, 1997 Robins, Corinne, «Ed Clark: The Fulfillment of a «Grand» Talent,» 1For the Sake of the Search,» Belleville Lake, MI: Belleville Lake Press, 1997 Feldman, Anita, «Ed Clark and the Abstract Shaped Canvas: A Memoir From Edward Clark: for the Sake of the Search, «1997 Joans, Ted, «Ed Clark and I, «From Edward Clark: for the Sake of the Search, 1997 Holg, Garret, «Ed Alert,» Chicago Sun Times, Sep 28, 1997 Robins, Corinne, «Ed Clark: The Fulfillment of a «Grand» Talent,» 1for the Sake of the Search, «1997 Joans, Ted, «Ed Clark and I, «From Edward Clark: for the Sake of the Search, 1997 Holg, Garret, «Ed Alert,» Chicago Sun Times, Sep 28, 1997 Robins, Corinne, «Ed Clark: The Fulfillment of a «Grand» Talent,» 1for the Sake of the Search, 1997 Holg, Garret, «Ed Alert,» Chicago Sun Times, Sep 28, 1997 Robins, Corinne, «Ed Clark: The Fulfillment of a «Grand» Talent,» 1997

Here, though, the slow, careful build - up of shape, line, and color is revealed, making his last canvas all the more instructive for painters.

His confederate, El Lissitzky, on the other hand, painted lively compositions with shapes that often seem to dance on the canvas, using precise balances of shapes and colors to tell spatial stories — for instance, suggesting that a static shape is actually in the process of falling, or rising — or even convey political propaganda.

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.

The older canvases on view were specifically by the Washington Color School artists, now remembered mostly for their dyed - canvas technique and status as an armament in Clement Greenberg's about - face on Abstract Expressionism, and included revelatory shaped paintings by Kenneth Noland, an almost - not - there Helen Frankenthaler, and this megawatt Jules Olitski.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Aptly titled, Robert Rauschenberg's Collection (1954) presents an array of photographs, fabric scraps, newspapers clippings, wood blocks, paint drips, shapes, colors, and textures jostling with one another and jockeying for position on one vibrant canvas.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

Zilia Sánchez (b. 1926), a younger painter, is known for her large organic forms, expansive fields of color, and uniquely shaped canvases.

Working beyond the confines of the conventional rectangle, she is known for her elaborate multi-panel paintings comprised of irregularly shaped and colorful canvases.

Mary Corse (b. 1945) earned acclaim in the 1960s for producing pieces ranging from shaped - canvas paintings to ingenious light works.

Since leaving London for New York in 1975, Scully has moved from colorful, plaid, shaped canvases, to narrow - striped paintings in single and multi-panels, to the present monumental, irregularly banded and constructed paintings.

Titled the «Wooster» series for the location of this revelation, these geometric forms with hard edges furthered the artist's exploration of shaped canvases, formalist elements of the line, and literal as well as depicted shapes.

Lennon describes his 1972 making of Folded / Unfolded in an essay, Self - making in a Post-Colonial Culture, written for the IMMA exhibition; «I had been experimenting with ways of making paintings by pouring paint into canvases and shaping them by handling and folding them in ordinary everyday ways that most people do.

A series of oval - shaped canvases (1986) allude to the plagues of Egypt, while Score Card (1984) establishes an imaginary scoring system for real sexual acts, contrasting snippets of lewd language with images of high fashion models.

Variable Mix - up (1967), for instance, consists of four square canvases fit together to form a jagged shape and mounted diagonally on the wall, yellow bands outlined in orange against a solid, deep blue ground running through them.

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.