Sentences with phrase «gallery as a canvas»

I am thinking of the gallery itself as a canvas with art objects standing in as the paint.

Not exact matches

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

the interview was very informative and it makes good sense to approach selling art with a good business mind, I felt relief as I enjoy both the arts and commerce skills and see that selling is an art and an artist should not have trouble in designing a path that will work out sales special interest groups in other social networks this is just another journey a new color on the canvas I can do this thanks Cory your channel has been an inspiration I printed and sold 6 prints the first time I pitched I was selling prints of my work all with in a week end among friends I have now professionally digitized my work for reproduction online and want to offer a nice web gallery and this is where it's scary I'm an artist not enjoying computer mode I moved from an area with an art culture in Cincinnati to rural where artist is odd man in town so this is nice chatting with creative people thank you to Melissa for her uplifting input as well blessings to all

Current art world phenom Wyatt Kahn, whose fragmented canvases blur the line between painting and sculpture, transcends traditional roles once again as curator for Rachel Uffner Gallery's group show, «Proper Nouns.»

In the case of Seeded (1960), the first work on the right as visitors enter the gallery, these colors are amalgamated in an energetic mass of swirls, curves, bold lines, and planes of color that are further enlivened by patches of canvas left bare.

T03458 ANTONY AND CLEOPATRA 1982 Oil on canvas 114 1/4 × 113 5/16 (2893 × 2872) Inscribed «Gillian Ayres» b.r. Purchased from Knoedler Gallery (Grant - in - Aid) 1982 Exh: Gillian Ayres, Knoedler Gallery, April — May 1982 (20, as «Anthony and Cleopatra»); Gillian Ayres, Serpentine Gallery, November 1983 — January 1984 (17, as «Anthony and Cleopatra») Lit: Tim Hilton, introduction to Gillian Ayres, exhibition catalogue, Serpentine Gallery, November 1983 — January 1984, p. 16 as «Anthony and Cleopatra» The following entry is based upon a conversation between the compiler and the artist held on 8 April 1986 and has been approved by the artist.

A Blank Canvas Is A White Flag David Walker 21 November 2014 - 30 November 2014 As part of the gallery's ongoing exhibition programme we present «A Blank Canvas is...

Oil on canvas, 61 1/4 x 92 1/2 (155.5 x 235) Purchased from the artist through the Marlborough New London Gallery (Knapping Fund) 1966 Exh: Piero Dorazio, Marlborough New London Gallery, London, January 1966 (35) as «Molto a Punta» Lit: Marisa Volpi Orlandini, Jacques Lassaigne and Giorgio Crisafi, Dorazio (Venice 1977), No. 801, p. 205 repr.

The Studio Museum in Harlem and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore present an exhibition featuring works from every period in painter Alma Thomas's career, including rarely exhibited watercolors and early abstractions, as well as her signature canvases drawn from a variety of private and public collections.

Three Hirst «spin paintings» are included in the exhibition, because, as the gallery explains, they «point to the foundation of gestural abstraction, which places significance on techniques such as dripping, dabbing or flinging paint onto the surface of a canvas.

They're applied to fabric, canvas and paper, as well as on the gallery's walls and windows.

«Ben Wilson: An Abstract Expressionist Vision» will be the next exhibition opening at the Quogue Gallery, featuring 14 paintings, oil on canvas or Masonite, dating from as early as 1963 and running to 1990.

In this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the floor.

The gallery showcases new marble and wax sculptures as well as Samorì's latest series of paintings on canvas, copper, linen and wood.

(Although another equally powerful line of endeavor developed at the same time, in 1992 - 93: the riotously bright paintings on awning canvas, printed with stripes or flowers, which were first shown as a group only last winter at the Skarstedt Gallery on the Upper East Side.)

Displayed to great effect in SJMA's expansive Central Skylight Gallery are Lee's recent very large ballpoint pen on canvas pieces that can only be described as epic both in Lee's pursuit of their creation and their impact on the viewer.

Yvonne Thomas's The Game, 1960, an approximately six - foot high canvas greeting visitors at the gallery entrance, reads initially as typical of its period, though when considered as thoughtfully as it was painted, one notices a sense of nervous dismissal in passages that first looked like panache.

The exhibition, the artist's fourth show at the gallery, will include approximately 100 small paper mounted on canvas paintings as well as 25 collage constructions and a set of sketches in response to Francisco Goya's drawings including his Los Desastres de la Guerra series, all dating from 2009 to the present.

As Sarah continued, the empty canvases on the gallery wall became filled with visual representations of value, exchange, and causality.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

The topmost tower gallery of the Guggenheim contains the triptych Three Panels: Orange, Dark Gray, Green (1986), as well as other shaped canvases, and the installation is inspired.

In complete antithesis to any mechanistic aura, Larry Poons's fourteen new abstract canvases at Danese and Loretta Howard Gallery, New York (closed 2nd March) maintained a studied wildness as volatile and hedonistically excessive as his early compositions of gridded dots in the 1960s were systematic and stringent.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

«Art Critic Estelle Lovatt FRSA has the experience of being on both sides of the canvas; having trained as a painter, read art history and as a gallery exhibition curator, Estelle is able to teach, judge and talk about works of art, from Cave Art to Banksy, with expert opinion.»

The critic Dore Ashton, reviewing his work at New York's Brata Gallery, which Mr. Kobayashi helped found in 1957, described his canvases and a work of sculpture on view in a 1958 show as «based in a wiry, expansionist imagery composed of tensile lines vibrating from central axes.»

His work which is mostly acrylic on canvas or wood panels has been shown at the AGH (Art Gallery of Hamilton), solo shows at the arts project in London, as well as galleries in Kingston and Toronto.

In this video interview with Stuart Krimko, Director of David Kordansky Gallery, Los Angeles, we learn about Gilliam's unique brush-less technique, his innovations in treating the canvas as the principal material and his influence on a young generation of artists (abstract and not).

At the Hole's booth, the gallery had installed several abstract paintings that the street artist known as Katsu had created by attaching a paint applicator to a small computer - guided drone, with the artist able to control its flight and spray paint on the canvas via a trigger.

Daily racing forms are Barnette's most dominant canvas as they map the walls of the main gallery.

The museum's nearly fifty foot — high, skylit gallery, designed by architects Tod Williams and Billie Tsien, will serve as her canvas for a new installation.

BRUCE SILVERSTEIN GALLERY In the «Spotlight» section, showcasing a single artist in each booth, Bruce Silverstein is exhibiting three spectacular canvases from the 1970s by Alfred Leslie, a painter who started off as an Abstract Expressionist and later turned to figurative realism.

The sketch Mist Fantasy, Sand River, Algoma (1920, National Gallery of Canada) shows how he used the sketches he made in Algoma: the finished canvas (1922, now in the Art Gallery of Ontario), with its long ribbons of mist, was noted by a later critic as the height of MacDonald's way of stylizing form.

For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the canvas — making it into the subject of the work, but instead of cloth, the «canvas» here is woven out of unified, off - white glass beads.

black - pained gallery walls and white window frames act as a canvas for the bike «drawings» etched onto the interior surroundings as though the faux - vehicle has been ridden on the walls.

Continuing, the gallery suggests, «Stern's colors grow and blossom organically across her large canvases, and these chromatic blooms manage to be simultaneously serene and dramatic as they radiate vibrant, earthy tones.»

Kosuth has also coloured the gallery walls as part of his montage that yields meaning and visual effects not only within individual elements, but also from the collision of, say, a gashed Fontana canvas, the blown - up definition of the word «red», and a wall coloured in Benjamin Moore household paint, an industrial medium favoured by Frank Stella and Andy Warhol.

Odilon Redon, 1840 - 1916, The Potted Geranium, c. 1865, Oil on Canvas (On display as part of Object As Subject, Main Gallery, August 26, 2105 — May 27, 201as part of Object As Subject, Main Gallery, August 26, 2105 — May 27, 201As Subject, Main Gallery, August 26, 2105 — May 27, 2016)

Free from the confines of gallery walls, our students formulate their own language and declare the world as their canvas.

Long - haired high - heeled budding Asian collectors noted down work by new names such as the charming light - as - air butterfly oil painting at the Grosvenor gallery by Senaka Senanayake and took selfie - souvenirs in front of Love Struck, wrought by D * Face with «enamel and pigment based paint on medium grain cotton duck canvas».

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

They're as comfortable leaving their imprint on the streets as they are making paintings on wood and canvas to be shown in galleries, and cull their imagery as much from outsider art, Brazilian folklore, and global hip - hop culture, as from their own private mythology.

Works on paper in black and white look great online, on the same full screen as a canvas, but do not hold up as well in the gallery.

In a review of her 1963 show at the Feiner Gallery, ArtNews called her canvases «marvelously colored» and «constantly expanding» concluding the review with an encapsulation of the writer's experience as follows: «Shapes sink and rise like drum beats leaving other spots in a dead space long enough to vibrate, and then the relationship moves on catching other lights from other places.

Although as early as 1979, graffiti artists Lee Quinones and Fab 5 Freddy were exhibiting in galleries, it was not until the 1980s that artists such as Keith Haring and Jean - Michel Basquiat began to be widely recognized by institutions, critics, and collectors, creating work that applied the styles they had cultivated on the urban fabric onto canvases and prints.

His modular paintings (first shown in the exhibition Kurgan Waves, at the Canada gallery, New York, in 2006) are composed of single - color canvases installed to create geometric, often overtly figural forms, such as the long - legged, slicker - and - galoshes - wearing The Fisherman's Friend from 2005, one of the earliest works in the exhibition.

Using the gallery's main exhibition space as her canvas, the artist masked the floor with a large foam stencil, painting over it and the surrounding walls in sprayed - on, bright acrylic paints, before lifting the stencil to create large, white, disconcerting voids upon entering the space.

Crowner is also interested in a painting's potential to function as an environment or performative setting rather than a discrete object on a wall, frequently juxtaposing her canvas works with interventions to the floors and walls of a gallery.

His celebrated installation The Upper Room (2002), originally shown at London's Victoria Miro Gallery, emulates the interior of a Catholic chapel, consisting of 13 monumental paintings that each depicts a monkey as one of the figures at the Last Supper, half - subsumed beneath the canvas's gilded surfaces.

While the artist was still in his mid twenties, his exhibition of «Dot» canvases, such as The Enforcer (1962) and Lee's Retreat (1963), at Green Gallery in Midtown, New York, caused a stir.

Regarding Creed's paint choice, the critic Michael Archer has linked the artist's approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to «keep the paint as good as it was in the can» (cited in Ikon Gallery 2008, p. 36).