The flowers
in the vase seem to multiply in the mirror!
Not exact matches
The circular red ribs that make up the urn - like form of Cherubini's «Morning Star» reflect the looping
vase handles and linear flowers
in Nichols's still lifes; the figure / field spatial disparity
in Bischof's «Omi im Bregenzer Wald» is also found
in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's classic study of Philip Guston's late work, published
in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum
seem to drift above a receding gray and green field, which is bordered
in peach - and - gray shards intersecting with black - and - white stripes.
To the other side Roger White's nonrepeating pattern of blue shapes on white suggests a lifetime's accumulation of abstract tchotchkes; next to it, the bottles and
vases in a drawing by Giorgio Morandi
seem only slightly more specific.
«Garden Party» blends four distinct areas of Gray's newest work — re-interpretations of Flemish still lifes, grip tape collages, large abstract «spectrum» paintings, and smaller «snapshots» of
vases, horses, and sculptural busts that
seem excerpted from his larger works — to cohesively to present a larger picture of his experimentation with traditional subjects
in art history through contemporary media and techniques.
Cappuccetto Rosso is the title for a show gathering around 20 works and framing a collection of loose associations on the topic of Little Red Riding Hood, reaching from Karl Marx, his face adorning a decorative sovjet
vase, to a Nike campaign becoming the mouthpiece for a heroic attempt, vanity seeping through what
seems to be a colouring activity or something ambivalent like whitefacing, while a painted sky introduces ambiguity
in a Martin Margiela perfume advertisement, blurring the lines with a 17th century Work.
Freilicher's oil on linen, Dark Afternoon (2001), features a plant and
vase of flowers on a bright yellow tablecloth looking out to a dull grey cityscape that
seems to veer up
in the background.
Around the corner,
in the small booth of New York gallery Situations, three large
vases by outsider artist Jerry the Marble Faun
seem to burst with exotic flaura and fauna.
In his show of new work at Lehmann Maupin, the British art - provocateur Billy Childish seems to be looking back to a bygone era; his paintings of birch trees, naked women, flowers in vases, and his own visage immediately evoke the swirling compositions of van Gogh, a comparison that pleases Childis
In his show of new work at Lehmann Maupin, the British art - provocateur Billy Childish
seems to be looking back to a bygone era; his paintings of birch trees, naked women, flowers
in vases, and his own visage immediately evoke the swirling compositions of van Gogh, a comparison that pleases Childis
in vases, and his own visage immediately evoke the swirling compositions of van Gogh, a comparison that pleases Childish.
The armchair,
vase and even the laminate flooring
in this living all
seem to be highlighting the fireplace, which is the obvious focal point
in this space.