Sentences with phrase «images of paintings hanging»

It's a wondrous portal this rectangle of glass — a sometime window, sometime screen, through which I can view images of paintings hanging on New York walls.

Not exact matches

I have an image of this painting, Michelangelo's «The Creation of Adam», hanging in my study.

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Featuring an iconic image of a baseball, this giclee print on canvas has the look and feel of a fine art painting and comes ready to hang.

Featuring an iconic image of a classic basketball, this giclee print on canvas has the look and feel of a fine art painting and comes ready to hang.

In Gillespie and I, a painting of Ned's called By the Pond hangs in the Exhibition; Harris might have based it on James Guthrie's To Pastures New (image below, left).

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The last two rooms are hung with Johnson's magnificent collage paintings presenting found images of Africa, including tribal masks, lush jungles, majestic palms, and idyllic beaches.

Four years later, his father hanged himself; Guston discovered the body and subsequently sought solace by hiding in a cupboard lit by a naked bulb, the image of which would become a prevailing motif in the oddly disquieting, figurative, often autobiographical paintings he began to make in his fifties.

Small paintings of fires are plastered upon images of the trees, whereas a Gothic arch encasing plasticine babies hangs over the marine setting.

His painting The Monument, which hung alone in the old Tate for years, looks like a Yankees» football scrum but it also somehow reminds you of those images of human legs piled up in the death camps.

We call them paintings because that is the convention for flat images made by hand that hang on a wall, and we call them abstract because they might remind us of, say, a painting by Sam Gilliam, Al Loving, Jean - Paul Riopelle, Cy Twombly or Jack Whitten.

Twenty - one large paintings on newspaper, containing hundreds of small images, hung salon - style on the gallery's thirty - foot back wall.

The monochromatic work Girl of 1997 features an image of a girl rendered with sprayed paint and a stencil to look like the kind of paper cutouts hung on the Chinese New Year holiday.

Based on images of part of the large site - specific painting created directly on our walls and floor, she has created a completely new installation of printed fabric that hangs where the original used to be, now hidden under many years of layers of wall paint.

In Sticky Pictures, Werner makes visible the source material of her paintings — not only the subject in the photograph, but also the photograph itself; the material quality of the printed image, its traces of weathering, handling and use, its physical presence as an object lying on the corner of a table or hanging loosely on a wall, in a space that might be a studio.

For those who don't know, Dubya has taken up painting in his retirement — recently, the Internet was flooded with hacked images of supposed early works, which included a scene in which he is depicted naked from the back in a shower, his face revealed in a tiny hanging mirror.

These are paintings composed of paintings, setting up a further point made by Elderfield in the way the show is hung: from depictions of the studio as an interior he zooms in on the many ways in which artists pick a wall full of images (Diebenkorn's Studio Wall created in 1963 based on the scene in his studio in the Triangle Building in Berkeley).

René Magritte's most famous painting, The Treachery of Images, 1928 - 9, may hang in the Los Angeles County Museum of Art but it also makes sense as...

First I painted them, and then hung transparent plastic panels on them and... got the colors and the positioning right (the image was very often fairly complex, and I only had a black - and - white ink drawing: it wasn't easy to pull out the colas from the complex web of white lines).

The fact that in all but one of these images the man is playing against an invisible opponent, and that in the large - scale painting the fi gure is staged in a jungle, just in front of a blue brick grid, is a fantastic tease that presents a nice taught wire to hang conjecture on.

In «Fast Forward: Painting from the 1980s,» Julia Wachtel's repetitious, hand - panted and screen - printed images hang alongside the works of more well - known painters from the era like Jean - Michel Basquiat, David Salle, and Eric Fischl.

His paintings evoke an awareness of the act of painting, namely by drawing attention to brushstrokes, surfaces, and materials, as well as to the edges of the image and the relationship between the painting and the wall it hangs upon.

Hung facing the elevators, large - scale paintings by David Salle and Barbara Kruger are set against a backdrop of He Kills Me (1987), an AIDS protest mural by Donald Moffett, showing repeated lithographic images of Ronald Reagan in acerbic, Day - Glo colors.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Many of these images depict paintings hanging over heat vents, chair rails, or in poor lighting conditions.

The image nearby shows me standing in front of two acrylic paintings that are still placed on the floor, waiting to be hung on the wall.

Fortunately, «New Image Painting» largely succeeds by its smart hanging and diverse selection of artists.

For World Wide the artist created a process, repeated in exhibitions at several other museums, by which he enlarged images and details from his paintings and screened them on transparent sheets of vinyl, hung so that they surround the viewer.

When hung, these beveled edges projected the works off of the wall and towards the viewer, removing the image from the two - dimensional realm of traditional painting and into the viewer's «real» physical space.

After several years assembling hanging installations of two - sided figurative paintings, Mastrangelo has recently returned to wall - mounted work in a series of impressive figurative... read more... «IMAGES: Susan Mastrangelo»

He works in a variety of formats that include Paintings on canvas, wood and wall hanging sculpture called» Definism», His images portray various differences in human nature, from life's everyday dramas to humankind's quest to under - standing self.

The first exhibition celebrating British history painting will include the haunting image of a tree once used to hang slaves in the US, taken by artist and director Steve McQueen when scouting locations for his Oscar - winning film 12 Years a Slave.

One of her most famous images showcases a Pollock painting hanging in an esteemed collector's house, mounted behind an ornamental porcelain tureen.

Although individual images of her paintings aren't available, Michaela Eichwald presented two dark abstractions (one can be seen on the back wall above) and an anxious, small - scale portrait (hung above eye level) that seemed unsure, edgy, and heartfelt.

The four large paintings that are specially made for the glass atrium are also inspired by the idea of multiple vantage points in the museum space, hung back to back as two images sharing across four separate planes, which are endowed with different functions.

2006 Isaac Delgado Fine Arts Gallery, New Orleans, «Women With Guns» 2005 South East Center for Contemporary Art, Winston - Salem, NC, «Homegrown: Southeast» Alexandria Museum of Art, Alexandria, LA, «Hanging Ten» NOCCA / Riverfront Galleries, New Orleans, LA, «Surface Treatment» 2004 Contemporary Arts Center, New Orleans, LA, «Bird Space» (Traveling Exhibition) 2001 Galerie Simonne Stern, New Orleans, LA «Paintings: Bechet, Garisco, Zeringue» 2000 The New Orleans Center for the Creative Arts, New Orleans, LA, «Personal Mysteries: Ten Women Artists» 1999 Society Internationale des Beaux - Arts, Paris, France, «Louisiana Artists» 1999 Galerie Simonne Stern, New Orleans, LA, «Self Images» 1998 Galerie Simonne Stern, New Orleans, LA, «Still Sixteen, Still Life» 1997 Hanson Gallery, New Orleans, LA, «Sheroes,» presented by the National Organization for Women Galerie Simonne Stern, New Orleans, LA, «Drawing Invitational» van de Griff Gallery, Santa Fe, NM, «Realm Knows No Bounds,» invitational.

Similarly, in Cricket Painting (Paragrand)(2006 - 12) oil paint is laid on the canvas in acid hues of orange, green and blue, the surface flecked in places with splashes of paint, so that action of the image — a girl lobbing a cricket ball that hangs in the centre of the canvas like a white, full moon towards a boy waiting at a wicket — becomes secondary; a compliment to the dynamism and energy of the colours» relationship.

For the group of works 48 Portraits for example, sketches of how to hang the paintings can be found in addition to source images and installation views of the paintings at the Venice Biennale in 1972.

The walls upon which these paintings are hung are papered with thousands of thumbnail images generated through Google searches for provocative phrases such as «Muslim Rage,» which resulted in images of masked terrorists, the Queen of England, Abu Ghraib torture images, and — perhaps even more disturbing than the original torture images — spoofs and memes of torture images, such as a pile of naked Lego men with their heads covered with sacks.

Not like a new image painting, which is sculptural, with the familiar picture as armature, the hook on which hangs the paintings which is an image (of something).

When hung, the beveled edges projected the works off of the wall and towards the viewer, removing the image from the flat, two - dimensional plane of traditional painting and into the viewer's physical space.

Gemini G.E.L. at Joni Moisant Wey and Crown Point Press were both selling Julie Mehretu aquatints (the former had 12 framed prints hung together to create a large, frenzied architectural image, almost the size of one of her smaller paintings).