Sentences with phrase «include square paintings»

Examples include square paintings done by Anuszkiewicz that he painted to further explore themes form Albers's famous series of paintings titled Homage to the Square.

Not exact matches

Mayor de Blasio has convened a task force to come up with ideas to deal with Times Square troubles — including the bare - breasted painted ladies and costumed Elmos and Spider - Men who waylay tourists for pictures and tips.

Looking to the other work done at and to support the Green Bank Observatory, the accomplishments of the past year include: hosting more than 2,000 visitors to view the solar eclipse, painting 84,000 square feet of the GBT, hosting 900 visitors at our annual open house (and launching 150 rockets in two hours that same day), releasing our new visitor reservations system, and hosting more than 30 film and news organizations.

The premise is simple but there are many gametypes including capture the flag, bomb paint modes where players blow up bombs to claim squares, and the new bankroll mode where players buy powerups with gold before the match starts counter strike style.

The press release doesn't have any incriminating evidence of this rumored super-Corvette, but it does mention that the investment will include new tooling and robots, and building a 450,000 square - foot painting facility.

After all, when you add a supercharger to a performance - built 302 V8, update every square inch (including the suspension,) and then paint the whole project in a slick metallic blue, you are going to create one of the most unique and powerful first - generation Mustangs around.

The Western Addition survived the 1906 earthquake with its Victorians largely intact, including the famous «Painted Ladies», standing alongside Alamo Square.

As well as being home to John Virtue paintings and a sculpture by Tony Cragg, the hotel building was designed by architect John Nash, whose works include Buckingham Palace, Trafalgar Square, the adjoining Haymarket Theatre, and more.

Without the delicious new coat of paint this game has received for the new console, the game also includes all the released DLC for the game which is mainly why Square Enix labelled it as the Definite Edition so for those you that haven't played through the DLC yet there's another carrot on a stick for you to go out and get this game right now.

The exhibition — which New York Magazine hailed as «superb» — includes a suite of six inch square paintings that feature bravura depictions of tire stores, muddy roads and rutted asphalt.

These pieces include a pair of paintings by Nak - Beom Kho, depicting closely cropped, chiseled male faces of mannequins, and black - and - white photographs of Nakamura's sculptural works such as Car Cover (1991), which show two forms that each resemble the shape of a car — one rounded and the other square - edged.

The display will include works that span his long and productive career, from the figurative paintings of the 1940s to the Perspex square reliefs he made in his later years, which will be displayed across the ground floor of the gallery.

The deer sculpture complements an Amish quilt, included in this context as a reminder that the square is not a shape unique to abstract painting.

Across two rooms offering 400 square metres of exhibition space, 20 paintings by Krauskopf, including large format works, are on view at G2 Kunsthalle.

The exhibition traces all the stages of Pape's career, beginning with her square paintings, reliefs, and blocks, all done between 1954 and 1956, when Pape was a member of Grupo Frente from Rio de Janeiro, which also included Clark and Oiticica, and which initially followed the tenets of concrete art as outlined by van Doesburg.

That kind of painting was not included in Greenbaum's recent show, «Hollywood Squares,» at D'Amelio Terras in New York City, and yet in a less obvious sense it was included — buried under the denser surfaces of her new paintings.

His books include The Widening Circle: Consequences of Modernism in Contemporary Art, Vitamin P: New Perspectives in Painting and several volumes of poetry, the most recent being Book Left Open in the Rain (Black Square Editions / The Brooklyn Rail).

The show, which takes up both storeys of Goodman's new Golden Square gallery, includes a major new glass panel sculpture; fluid, colourful «Flow» paintings; steely monochromes and a series of «Strip» paintings which systematically rework an old abstraction into new ones.

She has created outdoor site - specific paintings throughout New York City, including Brooklyn rooftops to the pedestrian plazas in Time Square.

Selections from Albers's own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction,») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers's prints.

This painting shows the corner of Madison Square at Broadway and Twenty - Third Street, which was notorious for its glut of advertising signs, including the city's first electric sign.

The exhibition begins in Gallery 1 with an array of the artist's early paintings, including her works based on the square, the grid and interior architectural details, such as The First Vent (1972) and Little 9 x 9 (1973).

Andrea Büttner (2009 - 11)-- Part of Andrea Büttner's work created for her Max Mara Art Prize exhibition, The Poverty of Riches, and titled Untitled (Paintings)(2011) was included in the Whitechapel Gallery's landmark exhibition Adventures of the Black Square in 2015.

The book includes large - scale reproductions of rare early drawings, photographs, stained - glass assemblages, Structural Constellations, and a range of abstract paintings, including examples from his Homage to the Square series.

His prolific artistic output ranged from furniture design and figurative line drawing to engraving and painting, including his renowned Homage to the Square.

[69] The largest solo exhibition Hockney has had, with 397 works of art in more than 18,000 square feet, was curated by Gregory Evans and included the only public showing of The Great Wall, developed during research for Secret Knowledge, and works from 1999 to 2013 in a variety of media from camera lucida drawings to watercolors, oil paintings, and digital works.

The exhibition will include large single and double canvasses from Stella's Concentric Square and Mitered Mazes series, as well as the seminal «New Madrid» painting from his Benjamin Moore series.

In addition to paintings, Applebroog has also created sculptures; artist's books; several films (including a collaboration with her daughter, the artist Beth B); and animated shorts that appeared on the side of a moving truck and on a giant screen in Times Square.

These plays between inside / outside, mind / body, felt / seen are explored throughout the exhibition, including in the nearby Listening to Haruki Murakami while looking at a sunset (2016), a network of squares painted in a palette of soft peach and gray acrylics, realized at the same scale.

His books include The Widening Circle: Consequences of Modernism in Contemporary Art (Cambridge University Press), Vitamin P: New Perspectives in Painting (Phaidon Press), Opera: Poems 1981 - 2002 (Meritage Press), and Book Left Open in the Rain (The Brooklyn Rail / Black Square Editions).

European Art, 1949 ‐ 1979 will include many other donations: a Letter to Palladio by Giuseppe Santomaso, early and late paintings by Armando Pizzinato, decoupages by Mimmo Rotella, two paintings by Lucio Fontana including a 1955 example of «holes» bequeathed in 2011, a major painting by Pierre Alechinsky, an aluminum relief by Heinz Mack, prints by Eduardo Chillida, a Homage to the Square by Josef Albers, an «extroflexed» canvas by Agostino Bonalumi, an entire room of sculptures by Mirko as well as his iconic tempera study for the Gates of the Fosse Ardeatine, a late monotype by Emilio Vedova, works by Bice Lazzari, Gastone Novelli and Toti Scialoja, and two paintings by Carla Accardi, including the magnificent Concentric Blue of 1956.

Indeed, his «Night Square» painting of 1951 with white, squiggly lines against a black background, not included in the show, was a two - dimensional stylistic precursor of the late almost 3 - dimensional works A run through the museum's other galleries after viewing the exhibition comes as a shock as few of de Kooning's fellow Abstract Expressionists seem to be in the same league as the paintings here.

You Get What You Deserve will also include three new larger paintings ranging in size from 100 to 150 cm square.

The exhibition includes canvas, linen, and steel paintings that range in size from 10» square to 8» square.

The most important exhibitions include, in 2003, participations at the Mies van der Rohe - Haus, Berlin and Seeing Red: An International Exhibition of Nonobjective Painting, at the Hunter College / Times Square Gallery in New York City.

Some of his best works are on his smaller square canvases, including Burial at Sea, where a dark ship on fire is so expertly painted that you can almost feel the heat when you stand near it.

Selections from Albers» own writings, including classic texts such as «On My Painting,» «Color» and «On My Homage to the Square,» mingle with essays by well - known Albers scholars Nicholas Fox Weber («Minimal Means, Maximum Effect») and Jeannette Redensek («On Josef Albers» Painting Materials and Techniques»); meditations by Norwegian artist Dag Erik Elgin («Preparing for Painting to Happen»), Eva Diaz («Jailbreaking Geometric Abstraction») and Doug Ashford («Dear Josef»); and a collage sequence by Andrea Geyer that pays homage to Albers» prints.

Other works in the exhibition include a 1981 Arneson bronze and ceramic self - portrait, Jack Beal's large oil study for his MTA mural at Times Square, Jose Bedia?s «El otro llado,» a five - part painting from 1992, and Joan Brown?s «Smoker,» a cardboard cutout from 1973.

She also created «Back Yard» (1995 - 99), a 600 square - foot environment that includes a glistening picnic table, checkered table cloth, flowers, lawnmower, clothesline, and barbecue all setting on a blazing lawn of over a million green glass beads; and «Trailer» (2001), a 1949 Airstream with an interior of beaded guns, hunting books and decor, cheap western paintings, a typewriter, a cluttered, messy kitchen, and finally, a glimpse of a leg lying suspiciously still on the bedroom floor next to a handgun.

Any stateside readers — or internet surfers — should check out his wonderfully evocative oil paintings of Big Apple life, including chess players in Washington Square Park and birds congressing on branches in Central Park.

In his first museum exhibition in Los Angeles, Simmons's «canvas» will be the five large 440 - square - foot walls in CAAM's grand lobby, where he is creating a site - specific painting that includes titles of vintage silent films that feature all — African American casts.

Spanning approximately 15,000 square feet of gallery space on two levels, the Lee Ufan Gallery includes painting and sculpture from different decades of his career.

Organized by CAAM's visual arts curator Mar Hollingsworth, the show includes work by nearly 50 artists starting with the stunning 1964 painting by Daniel LaRue Johnson, Big Red, a square of dark red stripes framing a smaller square of charred black detritus, a piece that in itself contains both meanings of «Hard Edged.»

As a commercial artist, Rosenquist paints billboards in Manhattan and Brooklyn, including signs in Times Square for the Astor Theatre, Victoria Theater, and Morosco Theatre, all located at Broadway and Forty - fifth Street.

Moving back and forth between abstraction and figuration, he has depicted geometrical forms including dots, lines, triangles, square and ellipses, and rhythms of fresh and vivid colors on the pictorial plane, and has created unique, illusionistic worlds of painting wherein each motif influences and merges into each other while preserving a descriptive quality.

He has worked with a wide variety of shaped painting supports, including squares, rectangles, crosses, circles, and ovals.

Trailing in the wake of Chuck Close and a few wide - eyed (and large walleted) major collectors as they rushed the press preview on Wednesday, May 4, 2016, I soon found installations that engaged and rewarded, including the juxtaposition of a red and black painting by Callum Innes with an Homage to the Square sculpture by Jose Davila at Sean Kelly.

Reflecting on the influence that Concrete art's appearance and concepts had on later manifestations of abstract art, including Op - art and Hard - Edge painting, Saul Sánchez utilizes the square, repeatedly, as a reference to the historical traditions he is addressing.

Highlights of the exhibition on display in New York from 4 November 2016 - 7 January 2017 include a major Frida Kahlo self - portrait, painted in 1940, and (Silver Square), painted by Jackson Pollock circa 1950, a work that was hung for many years in the New York apartment of Pollock's wife and fellow Abstract Expressionist, Lee Krasner.

Other performances include a staged event off an icebreaker in the Arctic Circle; simultaneous films of two groups, one in Trafalgar Square, London, and one in Senate Square, Helsinki (linked up by mobile phone); events in Tate Modern and Tate Britain; a performance at Arsenal Football Grounds; and a re-enactment of a painting on the effects of drinking wine in St. Etheldreda's, a medieval crypt in London.