Sentences with phrase «form on a black ground»

That's where he painted «Plant I,» his first use of a white form on a black ground, and produced his first lithographs, collages, reliefs and shaped - wood cutouts.

Not exact matches

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitablack square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitaBlack Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitablack square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitalism.

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 final wall is devoted to pieces from Ippolito's «Regatta Series» (1984 - 89) in which the watery color planes suggest abstract but recognizable elements like pennants, sails and boats, and black wave forms blend into blue ground in «Land's End» (1986), with the full blast of wind on sails being felt in the horizontal diptych «Windward» (1987).

From the psychedelically primordial My Forsaken Love, in which biomorphs traverse a black - fringed molten - pink ground, to the strata - like composition of Standing on the Riverbank of My Hometown I Shed Tears, a canvas filled with sedimentary layers of cell - like dots, eyes and extravagantly decorated lashes, the paintings generate new motifs and arrangements of forms while continuing a lifelong preoccupation with the mysteries of the physical and metaphysical, the tangible and ineffable - the space where seeing and feeling intersect.

The experience was a bit bewildering at first, since the studio is a laboratory where the artist has more than a dozen «experiments» going simultaneously: a giant firefly contraption takes up a swing - set zone; materials for an upcoming performance are laid out on every surface of the seating and sofa zone; fish tanks surround a computer zone and provide the staging ground for an oceanic corral project; dozens of human arm forms, cast in a Black Power salute and cast in gold, are lined up along a wall, in preparation for a huge installation in Washington, D.C. this fall; a 3 - D printer is on pause as it creates Lilliputian figures for who - knows - what; and everywhere are various staging grounds of plastic models which will eventually be sprayed in gold and mounted on pins, to create Kaino's now - signature six - foot - tall, glittering gold pin drawings that suggest atomized worlds.

This consisted of a large black circular form planted in the ground on a fishnet foot, with a human face on one side and a multicoloured tail on the other.

Freed from the obligations of representation, Malevich exhibited there his «Black Square on White Ground», while affirming that «Creating means living, eternally creating newer and newer forms».

Although the artist was aware that the cultural significance of the Zen drawings in part relied on the words that were incorporated into them, he chose to see the elements of this «script» purely as black forms on a white ground, making drawings that reflected this.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

Silhouettes, painted there in 1938, is a zany array of biomorphic forms, somewhere between planets, fruit and exclamation marks, ultramarine and black against a pale ground so that they dance abruptly on the eye.

In Excursion on the Thames (1953), one of several pictures in the exhibition deriving from Avery's only trip to Europe in 1952, the perfect balance is struck between loving observation of the everyday and visionary form - making: the pleasure boat slowly moving down the Thames, observed from the steps of the Tate at Millbank, is simultaneously two bands of vibrant colour glowing against the almost - black of the middle ground.