Sentences with phrase «glass microspheres in»

MARY CORSE Untitled (DNA Series), 2017 glass microspheres in acrylic on canvas 78 x 234 inches 198.1 x 594.4 cm LM25119 Photo: Ron Amstutz.

Glass microspheres in acrylic on canvas, 9 × 9 ́.

MARY CORSE Untitled, 2011 glass microspheres in acrylic on canvas 102 x 156 x 3.75 inches 259.1 x 396.2 x 9.5 cm LM15868 Photo courtesy of Ace Gallery

Mary Corse, Untitled, 2011 Glass microspheres in acrylic on canvas 114 x 90 x 4 inches February 2 — March 10, 2012 Lehmann Maupin Gallery is pleased to present Mary Corse's inaugural exhibition at Lehmann Maupin Gallery, entitled New Work, on view 2 February — 10 March 2012, at 540 West 26th Street.

MARY CORSE Untitled (White Inner Band, Beveled), 2011 glass microspheres in acrylic on canvas 96 x 72 x 4 inches 243.8 x 182.9 x 10.2 cm LM22427

The exhibition at Lisson Gallery will include Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

Acrylic squares and glass microspheres in acrylic on canvas, 72 x 114 in.

The exhibition at Lisson Gallery includes Untitled (White Multiband, Vertical Strokes)(2003), incorporating glass microspheres in acrylic on canvas; multiple works from the innovative White Band series; and recent paintings from the Black Band series; alongside the lightbox Untitled (Electric Light)(1968/2017), composed of argon and Plexiglas.

MARY CORSE, Untitled (White Inner Band, Beveled), 2011, glass microspheres in acrylic on canvas, 243.8 × 182.9 × 10.2 cm.

Not exact matches

Cameron's engineers actually developed new materials — including a syntactic foam made from millions of hollow glass microspheres suspended in an epoxy resin — to strengthen the sub's hull without adding a lot of weight.

In 1968, she began to embed glass microspheres, tiny reflective beads commonly used to brighten highway signs, in her paintings by mixing them with white acrylic painIn 1968, she began to embed glass microspheres, tiny reflective beads commonly used to brighten highway signs, in her paintings by mixing them with white acrylic painin her paintings by mixing them with white acrylic paint.

Corse treats light as a subject and material of her paintings, activating them by using refractive glass microspheres that are common in highway paint.

But Corse's «aha» moment occurred in 1968, when she discovered glass microspheres, the tiny prismatic beads that are often embedded into highway pavement.

But in 1968 she changed direction when she applied tiny prismatic glass beads (or «microspheres,» the kind found embedded in some highway signs and line dividers), to paint before brushing the mixture onto prepped canvases.

She also sought to find a way to «put the light into the painting» — a pursuit that soon led her to glass microspheres, the tiny prismatic beads most commonly found in highway dividing lines to illuminate lane boundaries at night.

So I made these black earth pieces, and then that allowed me to do black paintings with the reflective glass microspheres I had been using in the white paintings.

This focused exhibition highlights critical moments of experimentation as Corse engaged with tropes of modernist painting, from the monochrome to the grid, while charting her own course through studies in quantum physics and complex investigations into a range of «painting» materials, from fluorescent light and plexiglass to metallic flakes, glass microspheres, and clay.