Sentences with phrase «form of a triptych»

This takes the form of a triptych of exhibitions, each exploring a particular theme, continuing through 2012.

Not exact matches

Tim Radford, former science editor of The Guardian, called the Silver Award winner's work «a triptych of elegant studies in essay form.»

Phillips, a novelist who draws deeply from history's well, fictionalizes the lives of three black men in England to form an indelible triptych depicting the suffering of individuals condemned to the status of aliens and undesirables.

For the three - paneled form of the Bulletin Board at the Center for Curatorial Studies at Bard College, Los Angeles - based artist Scott Benzel conceptualized a site - specific triptych for the atypical, yet mundane, exhibition space.

The Agapanthus triptych, which Monet started in 1915 and worked on until his death, forms the crowning glory of this exhibition.

The scope of Michael Meads» work is large, and wandering from room to room in «Bent Not Broken» at the Ogden Museum of Southern Art, his range of mediums and forms is awe - inspiring: acrylic paintings, charcoal drawings, papier - mâché masks, screen - printed images overlaid on gessoed wood panels, vivid sculptural triptychs, a small bound book of collages.

Ed Ruscha was commissioned to create two large - scale paintings that flank his A Particular Kind of Heaven, 1983, which is in the museum's collection, to form a spectacular, monumental triptych.

«His new tapestry, a triptych entitled «The Caged Bird's Song», is a sensuously gorgeous thing, full of curvilinear, twisting forms and sumptuous colour harmonies blended softly together.»

Furthermore, as Patricia Junker notes, «The central panel emphasizes the persistence of primitive forms of combat, yet the left - hand panel of the triptych makes it clear that the engine of war is fueled by technology.

For the three - paneled form of the Bulletin Board at the Center for Curatorial Studies at Bard College, Benzel conceptualized a site - specific triptych for the atypical, yet mundane, exhibition space.

Her large - scale triptych Bullets Revisited # 3 (2012) depicts her usage of a predominantly male art form of calligraphy, and investigates the notions of the complexity of gender roles in the Islamic culture.

Dyer's form appears in all three panels of the triptych - as a boxer, reflection, and a shadowy figure inserting a key in a door.

The artist was later asked by the M. H. de Young Memorial Museum to create two large - scale paintings that flank his A Particular Kind of Heaven (1983), which is in the museum's collection, to form a spectacular, monumental triptych.

I've noticed in some of the literature, that people have tried to read some religious meaning into these diptychs, triptychs, you know, because that was a form that was used...

Other works included in this exhibition are: Poem B (The Guest House), a triptych from 2006, in which images form a tapestry of shifting memories from the exhibitions to the present; Bodies of Light, 2006 a flat panel diptych which takes its inspiration from Tantric Buddhist descriptions of the dissolution of the body during the process of birth and death; Old Oak (Study), (2005); and Four Hands (2001).

This series comprises two single panel pieces, a diptych and a triptych and is full of the vibrant color schemes, botanical forms, and intricate detailing typical to her work.

On view will be a video from 1978, dozens of painted chairs, and a large series of recent works on mylar, including a 10 - foot tall image of a man proudly sporting an enormous penis and a triptych depicting three crouching, nude, spread - legged women, all painted in Applebroog's signature style of simplified human forms with bold outlines.

Cape Town - based artist Athi - Patra Ruga's eye - tingling triptych, The Night of the Long Knives I - III (2013), forms part of Coetzee's group exhibition All Things Being Equal..., which also includes lens - based work by Malagasy artist Joël Andrianomearisoa, American Rashid Johnson, Briton Isaac Julien, and lesser - known South Africans such as twin brothers Hasan and Husain Essop, Mohau Modisakeng, and Thania Petersen.

A sense of mutual growth is apparent in the make - up of the exhibition: this is the first time Walter has combined his paintings to form diptychs and triptychs, allowing the viewer to discover visual accord between apparently disparate motifs and subject matter.

Another way to do this was to join together separate large - scale prints to form a triptych, which he did in Overpass (1988), using three prints of an identical photographic image.

[4] Raymond Mortimer, somewhat depressed by the «gloomily phallic» effect of the triptych, noted: «The Figure in a landscape is no more engaging in form, but here the colour is more varied and the paint a beautiful mosaic.