Sentences with phrase «format paintings space»

Not exact matches

Combining easy controls with tricky space - bending puzzles, Telepaint's format is simple: you're a paint bucket trying to reach a waiting brush, auto - walking between portals that you can link to teleport around levels.

The space around the painting is included, and the painting breaks a little free of its format.

Spreadsheetspace is a new installation by Franklin Evans using the grid and organizational format of the Excel spreadsheet to construct a three - dimensional painting space.

These works reject large - scale formats, and adopt a softer palette and a lighter, increasingly delicate touch which could be likened to a desire to paint with space itself rather than oils.

After Mitchell moved to France, she adapted two - and sometimes three - panel formats, because her studio spaces, first in Paris, and then even in Vétheuil, were always too small for her vision and for the newly required scale for serious painting.

Most of the paintings here are landscape - like formats, and as noted they present the colors of night landscapes and play with the space that comes with that.

I developed this «crackpot» math thing which has to do with converting the aspect ratio of the format for a better understanding about the specific area as a felt space — mostly because I wanted to get out of the composition business which always felt to me like stage direction, and which seemed to make the painting's feel episodic.

Across two rooms offering 400 square metres of exhibition space, 20 paintings by Krauskopf, including large format works, are on view at G2 Kunsthalle.

The Museum's small - format, highly - detailed canvas, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale paintings that will completely fill the exhibition space, each work conveying parts of the scene from a different perspective and in a different painting mode.

Various Private Collections - New York, NY; Detroit, MI: Memphis, TN; Nashville, TN; St.Petersburg, FL; Washington, DC; Oxford, MS; Seattle, WA, Los Angeles, CA; Little Rock, AR; Boston, MA; Raleigh, NC SELECTED BIBLIOGRAPHY Artscope, «Centerfold», Volume 4, Numer 2, May / June 2009 ArtSEEN, «Drawing Conclusions», Volume 5, Spring 2007 NY ARTS, «Artist's Voice», Volume 12, Issue 5/6, May / June 2007 The Washington Post, «Portraiture's Harsh Lessons» by Blake Gopnik, June 25, 2006 The Atlanta Journal - Constitution, «Colorful Melange Blends Well», by Jerry Cullum March 12, 2006 The Commercial Appeal, «A Splash of Great Painting» by Frederic Koeppel, January 21, 2005 The Star - Ledger, «Connecting Art and the Everyday» by Dan Bischoff, Sunday, August 1, 2004 Art Papers, Exhibition Review «Homegrown» by Linda Johnson Dougherty, Volume 26, Issue 1; Jan. / Feb. 2002 The Spectator, «The Spaces Between: Brian Bishop's «The Longest Year»» by Glenn Perkins, December 26, 2001 New York Times, «Among a Show of Drawings, Looking for Ones with Bite» by William Zimmer, May 14, 2000 The Memphis Flyer,»... Offering up an earful and eyeful» by Cory Dugan, March, 1998 New American Paintings, Open Studio Competition, 1998 CURRENT EMPLOYMENT Professor of Art and Chair, Department of Art + Music, Framingham State University, Framingham, MA click here to download a comprehensive cv in pdf format.

Hanging in the clean white space are nineteen of his recent paintings: gestural abstractions striking for their stacks of bold, modular brushstrokes (mostly black on white grounds) and unusual formats (many of the canvases are exceedingly narrow and tall).

The Museum's small - format, highly - detailed painting, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale oil paintings that fill the exhibition space.

Through their precise positioning in the gallery space, large - format oil pictures and wall paintings take on almost architectural functions.

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

For Stella, painting meant bursting the constraints of format to leap into space.

Vuillard's interest in patterned surfaces and domestic intimacy led him to produce many of his most compelling works around 1900 in two radically different formats: on the one hand, large - scale paintings, conceived as decorative ensembles and commissioned for private, domestic spaces; and, on the other, intimate color lithographs, produced in series and destined for broader circulation.

The dealer's commitment to him was such that, when her gallery moved to a new Los Angeles location in 1963, she designed the space to accommodate his nine - foot verticals (she did not yet realized that his new works were limited to the five - foot - square format), and installed a narrow platform of white marble along the baseboard to keep visitors at a distance from the extremely fragile paintings, whose inscrutability seemed especially capable of provoking the public.

The collection also includes central works from her photographic series of urban spaces, her poster paintings and rubbish bins, as well as elements from larger installations, which shows how Kagge concentrates on collecting across time, formats, media and thematic structures.

Curated by Laura Carlini Fanfogna, the exhibition fills the vast space of the Sala delle Ciminiere with 38 mostly large - format paintings created by the German artist over the last decade.

Rather than proposing to the artists to reflect on the process or tools in the paintings of Degottex, he preferred to offer them to work on a common format, the same as the one from the series Lignes - Report lent for the exhibition, one could say to work on a common space.

In New York, the smaller Parisian formats were quickly associated with fussy illusionistic spaces, and in an eagerness not to miss the train of Greenberg's seductive theories, too many American painters fell for his Kantian logic of progress in art and the eventual critical endgame of the death of painting that followed.

His color photos with painted backdrops of office cubicles or beach scenes let the client choose what image to project, but the curved painted backdrops flatten out the space and create a surreal effect, in contrast to the elegance of Keita's large - format portraits.

She said the Physical / Ephemeral exhibition has allowed her to explore new formats and ideas for her work and has encouraged her to try creating work that she feels questions the boundaries between painting and real space.

As New York painters were progressively rejecting illusionistic space and moving toward a more literal space and bigger formats — which would logically lead a few years later to Donald Judd's rejection of painting in favor of sculptural space — the concept of le tableau continued to provide a conceptual framework to painters within the French idiom that would allow painting to evolve without losing the basic elements of its identity.

2003 «Isla,» Galeria Botello, Hato Rey, Puerto Rico 2001 «Lecciones,» Galeria Botello, Hato Rey, Puerto Rico 2000 Nancy Hoffman Gallery, New York «Small Format,» Project Space, Nancy Hoffman Gallery, New York 1998 Galeria Botella, Hato Rey, Puerto Rico 1997 Frederic Snitzer Gallery, Coral Gables, Florida 1996 «Survey,» Nassau County Museum of Art, Roslyn Harbor, New York 1995 Nancy Hoffman Gallery, New York 1994 Barbara Okun Gallery Galeria Botella, Puerto Rico Marta Gutierrez Fine Arts, Key Biscayne, Florida Nancy Hoffman Gallery, New York 1992 Nancy Hoffman Gallery, New York 1990 Nancy Hoffman Gallery, New York Mangel Gallery, Philadelphia 1989 Nancy Hoffman Gallery, New York 1988 Nancy Hoffman Gallery, New York Mangel Gallery, Philadelphia 1986 Nancy Hoffman Gallery, New York 1985 Galerie Darthea Speyer, Paris Nancy Hoffman Gallery, New York «Paintings 1981 - 85,» Minneapolis College of Art and Design, Minnesota «Rafael Ferrer,» Beaver College, Glenside, Pennsylvania «Rafael Ferrer,» Neuberger Museum, State University of New York, Purchase, New York 1984 Nancy Hoffman Gallery, New York 1983 Indiana State University El Museo del Barrio, New York University of Southern Florida 1982 Frumkin & Struve, Chicago Nancy Hoffman Gallery, New York Northern Illinois University, De Kalb «Rafael Ferrer: Impassioned Rhythms,» Laguna Gloria Art Museum, Austin, Texas 1981 Okun - Thomas Gallery, St. Louis 1980 Frumkin & Struve Gallery, Chicago Hamilton Gallery of Contemporary Art, New York 1978 Nancy Hoffman Gallery, New York Institute of Contemporary Art, Boston The New Gallery, Cleveland 1977 Albright - Knox Art Gallery, Buffalo Marianne Deson Gallery Fort Worth Art Museum, Texas Galerie Darthea Speyer, Paris Nancy Hoffman Gallery, New York 1976 Central Michigan University, Mount Pleasant The New Gallery, Cleveland 1975 Instituto de Cultura Puertoriquena, San Juan Nancy Hoffman Gallery, New York 1974 Delaware Art Museum, Wilmington «Isla,» The Museum of Modern Art, New York Nancy Hoffman Gallery, New York Phyllis Kind Gallery, Chicago Phoenix Gallery, San Francisco 1973 Contemporary Arts Center, Cincinnati Miami - Dade Community College Art Gallery, Florida 1972 The Museum of Contemporary Art, University of Pennsylvania, Philadelphia University of Rhode Island Fine Arts Center, Kingston Whitney Museum of American Art, New York 1970 Leo Castelli Gallery, New York «Defected Fountain,» Philadelphia Museum of Art, Pennsylvania Galerie Michery, Amsterdam Galerie M.E. Thelen, Cologne, West Germany University of Hartford Art Gallery, Connecticut 1969 Eastern Connecticut State College, Willimantic Galerie M.E. Thelen, Cologne, West Germany «Three Leaf Pieces,» Castelli Gallery, New York 1966 Pan American Union, Washington, D.C. 1964 University of Puerto Rico, Mayaguez

For example, the large - format landscape painting characterized by blue and green tones, Downtown, opens up like a window onto a dynamized pictorial space.

Exhibitions (Selected) 2017 Manuscript - Letter Home, China Academy of Arts Museum, Hangzhou, China Veneer, Wirksworth Festival, Derbyshire (Co-curated Exhibition) Line and Fold, Paper GALLERY, Manchester 2016 Razzle Dazzle, Transition Gallery, London Only Yours Dear, Gallery No. 1, Repton, Derbyshire (Solo) Drawn for Something Else, Rogue Project Space, Manchester Now for Tomorrow II, Nottingham Castle Museum and Art Gallery, Nottingham Razzle: All That Jazz, Harley Gallery, Wellbeck Estate, Nottinghamshire 2015 In Miniature, Small Collections Room, Nottingham Contemporary, Nottingham Autocatalytic Future Games, No Format Gallery, London 2014 (detail), The Usher Gallery, Lincoln About Painting, Castlefield Gallery, Manchester 2013 Rotation New Court Gallery Repton, Derbyshire (Solo) 2012 Needle's Eye, BayArt Gallery, Cardiff 2011 Contemporary Perspectives on Water Colour, Mall Galleries, London

The works are partially organized in horizontal installations that have paintings one next to another with space in between, like horses in a stable, that tell stories in more of a 20th Century format.

For Tadasky, the framing square format of his paintings is as essential as the concentric circles within it, allowing each painting to act as a means of entry into a transformative space.

On view for the first time, the presentation of drawings and paintings is the inaugural show at the artist's open - format exhibition space.

Secondly, and probably more importantly, he was responding to a real, pre-existing space, with its own formal structure and its own history, and not deciding on an arbitrary format and size for his painting surface.

Recent group exhibitions include: Stag - Berlin / London, Dispari & Dispari, Reggio Emilia, Italy, 2013; Every bird brings a different melody to the garden, No Format, London, 2013; System Painting Construction Archive, Lion and Lamb, London, 2013; Revealed: Government Art Collection, Ulster Museum, Belfast, 2013; The Space Between, Tate Britain, London, 2012/13; Towards a New Abstraction, Fondazione MACC, Museo d'Arte Contemporanea di Calasetta, Italy, 2012; British Modern Remade: Style.

In the early 1960s, Bishop developed the vocabulary of color and form that would characterize his paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle architectonic abstractions, and a consistently large, square format that reinforces the viewer's sense of scale and space.