Sentences with phrase «framed canvas works»

Galiczynski creates large, framed canvas works, most often acrylic based, drawing out the depth and texture of the painting to complement the compelling images of Philadelphia's intensity and rawness.

This beautifully framed canvas works well in every setting from rustic to modern to traditional.

Not exact matches

Working with a mix of technical collaborators old and new, Villeneuve has once again delivered an impeccably well - crafted film, not least in Deakins» arresting widescreen lensing, which alternates between vast aerial canvases that capture the epic sprawl of the border land, and closeups so carefully framed and lit as to show particles of dust dancing on a shaft on sunlight.

Carrying Framed works across cities and countries can be very expensive and laborious for an artist.What is the best way and artist can exhibit carrying rolls of canvas across countries?Are there any instant rental frames available which can stretch canvases for exhibitions?

For artists who work in distinctively different styles (for example, small watercolors framed under glass, and large, 3 - dimensional varnished works on canvas), I think consistency in pricing * within each style * would be the most important thing, so that it makes sense to the buyer.

In my case, if I were to pay to have a piece framed, my costs become much higher for a work on paper than for a canvas painting!

Cornish writes: «I like how dramatic the paintings are as images, and how this drama pushes and pulls (surges may be a better word) in two directions: the ruffs and ripples of canvas and colour work upwards towards the containing outline, whilst the outline imposes itself on the action it frames: cutting, nipping, tucking and cropping.»

Although his work was initially two - dimensional, mostly paintings in oil and acrylic, he began incorporating sculpture, first separately and then as elaborately constructed frames over which he would stretch canvas.

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

Privileging the frame as much as the canvas, Ryman's works incorporate aluminium, fiberglass, and even baked porcelain.

These components are used to great effect in both Rejection Letter (acrylic with collage on paper mounted to canvas, 2009) and Untitled (With Your Best Interest at Heart)(framed acrylic on paper, 2009) in which the letters themselves adopt interestingly complex configurations even as the act of «reading» the work becomes a singularly entertaining part of the process.

The actual plastic supports are relatively thick, and in keeping with the earlier work, on each of their sides the artist has painted a row of thick black dots, suggestive of nails holding down canvas that has been stretched over the frame.

We framed a number of pastel works on paper for this exhibition which hang alongside large - scale works on canvas.

Here, he has not only slashed through the pristine white surface with twenty - four of his iconic cuts — the greatest number that he would ever commit to one canvas — but has also added a further dimension to the work by enshrouding it in a black lacquer frame, which glistens with reflections of the world around it.

Executed on a monumental scale this butterflies and household gloss on canvas work measures 268 cm in diameter (including the frame).

She then fastened sooted canvas to the frame with thin wire, preferring decomposable iron wire in her earliest pieces to the more stable copper she chose for her later work.

Also of interest are a series of photographs by Anne Sager, James Brooks's The Springs (lithograph, 1971), Marcia Gygli - King's Main Beach, East Hampton (oil on canvas, mixed media frame, 1988 - 91), and Terry Elkins's Montauk (collage and pencil, 1994 - 97), a work which is memorable both for his signature collage technique but also for the use of shadowing, which adds a significantly suggestive intimation to the image of the Montauk lighthouse.

Her canvases are unprimed and the sometimes bare surfaces are a deliberate part of the work, just as while some paintings imply the image continues beyond the physical constraints of the canvas, others are literally framed.

Works on canvas must be either in frames or gallery wrapped canvas with sides painted.

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

Dissatisfied with paintings trapped within a frame or contained by a canvas» edge, Irwin devised his now - iconic works that merge with the light and air around them.

Your use of the scroll as a format here is interesting — many of your previous works seem to be more straight - forwardly contained by the picture plane / the edges of the canvas or frame.

One particularly striking work is Molly Zuckerman - Hartung's The Failure of Contingency (2012), in which painted ribbons of canvas spill like linguine over the floor, beginning from a small square frame and ending in a puddle of fabric underneath two folding chairs.

When he jettisoned the frame completely, however, Gilliam arrived at wholly new, groundbreaking works such as Light Depth (of 1969), which consists of some 75 feet of stained, crinkled, and suspended unstretched canvas.

A more recent series consisted of abstract compositions made of many unpainted canvases, stretched over irregularly shaped frames; these monochromatic works employ negative space and geometry to create abstract compositions.

The Freilicher work, in particular, is notably effective in the artist's structuring of the canvas so that the viewer's eyes are constantly drawn from the lush green foreground and into the peacefully pastoral sky framed by clouds and a gentle lunar image that dominates the upper portion of the work.

He made Bedroom Breast, 2004, a painted metal relief, referring back to his earlier work, and also Man Ray at the Dance, a large canvas painting, at more than eight by six feet, and eight Sunset Nudes including Sunset Nude with Frame, a painted metal work.

To create these works, the artist would pour acrylic paint directly onto the canvas, which was liberated from its frame and manipulated in ways that blurred the distinctions between painting and sculpture.

Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device.

Also on show will be Rauschenberg's Bed, 1955, (pictured second from top, right) a work massively ahead of its time, which involved stretching his actual pillow and bed on a canvas frame and then layering in paint.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Julia Rommel's paintings seem to highlight their frames, having been stretched many times over during their creation, whereas in truth the main bodies of the canvas are often intensely wrought through a process of layering and erasure that she likens to a fight: «I've found myself taking elaborate steps to keep my own signature away.

With the subjects depicted at life - size and squashed into the canvas, the work induces a sense of claustrophobia — partly from the plethora of details, partly from the way the yoga mat frames the composition.

Framed raw canvases stained with dripped enamel and oil paintings hang on museum walls, reviving remarkable works of art from one of America's most prominent artists of the past.

In most work that we know and respect, particularly abstract art which has broken all kinds of links with the observed world, and which could be said to be about the nature of the medium itself — the two dimensional canvas, the colours, the drawing, the frame of the canvas — the medium is absolutely essential — is crucial — in terms of my appreciation of a work of art.»

The works, which began emerging from the artist's New York studio around 1959, were made of canvas and other fabrics, stretched over steel frames and stitched with wire, sometimes incorporating airplane parts, war - surplus materials, laundry — conveyor belts, industrial - saw teeth, and other incongruous objects.

But the most startling display may be the one in his living room: He has mixed works from his approximately 200 - piece collection — a comically large bright pink rubber phallus by Sarah Lucas; unusual drawings by Paul Thek in yellow Plexiglas frames; a heavy, stone - patterned gray canvas by Peter Halley; an upright cannon by Valentin Carron; an array of silk screens by the reclusive Cady Noland — with a resin prototype of his first tree.

The «draped» paintings, as they would be called, were abstract works on canvas but without a frame, the canvases could be stretched across walls, bunched up like bed sheets, even hung from ceilings.

From Stieglitz and some of the other photographers whose work he promoted, such as Paul Strand and Edward Steichen, O'Keeffe learned the technique of cropping and filling the frame of the camera, or canvas, with your subject.

Known for his two - colour, tonal canvases of precise, carefully considered hues, Joseph's work historically exists within self - imposed, specific structures and parameters - the effect being one of unlimited freedom confined within the «safety» of a framed construct.

Although less than 25 percent of the lots are by women artists, some significant works by women are for sale: «Roots,» a poignant color screen print by Catlett that the gallery says has not been seen at auction in 20 years (shown above); «March on Washington,» 1964 (oil on canvas), a beautifully rendered painting by Alma Thomas (1891 - 1978); Faith Ringgold's 1974 «Night: Window of the Wedding 8,» touted as the first of her fabric paintings to be offered at auction (shown below); and «Still Life with Grapefruit,» 1928, described on the frame backing as Lois Mailou Jones's first painting, completed a year after she graduated from the School of the Museum of Fine Arts in Boston.

Such as as his series, Ellipses and Frames, where he focused on creating works that featured round shapes on canvases that were shaped like fFrames, where he focused on creating works that featured round shapes on canvases that were shaped like framesframes.

Because Kline sketched and painted this photograph so many times, he acquired such a familiarity with it that he could apparently sketch it blindfolded in less than thirty seconds.39 This skill necessarily involved what Kline had described in 1956 as the process that had led to his breakthrough to abstraction: «breaking down the structure into essential elements».40 In the photograph, the posture of Nijinsky in absolute terms and relative to the frame has a striking structure of a kind that persists in Kline's abstract work, in which there is a tension between the composition internal to the painting and the limits of the canvas.

In 1965, the artist made a transitional work in which he over-sprayed a canvas with subtle variations of white and installed neon tubes inside the back of the frame.

In turn the number of surviving Golden Age paintings was reduced by them being overpainted with new works by artists throughout the 18th and 19th century — poor ones were usually cheaper than a new canvas, stretcher and frame.

The exhibition will feature all new works by each artist ranging from paintings on canvas, framed paper cutouts, ceramic sculptures, and works on framed wood panels.

Other paintings look so much better framed, when the drips of the sides of the canvas aren't part of the work.

Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories,» states the Contemporary Arts Center.

Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories.

This work is an Abstract Expressionism is a canvas artwork stretched mounted onto a wooden, deep frame canvas, measuring 122 cm (W) x 122 cm (H) x 5 m (D) and is ready to hang.