Sentences with phrase «inscribed images»

The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium.

Rosa Esman Gallery «17 Years at the Barn, Highlights from the Edward Albee Foundation» New York, N.Y. Lang & O'hara Gallery «The Inscribed Image» New York, N.Y. Luhring, Augustine & Hodes Gallery «Drawings» New York, N.Y. AFR Fine Art «Works on Paper» Washington, D.C. 1987 Willard Gallery New York, N.Y. New York Studio School «Five Abstract Artists» curated by Robert Storr New York, N.Y. Knoedler & Co. «Art Against Aids» New York, N.Y. Brooklyn Museum «Working in Brooklyn» curated by Charlotta Kotik (catalogue) Brooklyn, N.Y. Pace Editions «Monotypes» New York, N.Y. Barbara Krakow Gallery «Poetic Substance» Boston, MA 1986 Dart Gallery «Abstraction» Chicago, ILL..

Not exact matches

In Revelation's image of the New Jerusalem, the names of the 12 tribes are inscribed on the 12 gates — the entrance.

I wanted to talk about that Conservative campaign before the election, which slammed Labour's «death tax» and published that poster with the image of a grave inscribed with RIP OFF.

Alfred Kren, one of Almquist's long - term supporters, wrote recently: «He inscribes fleeting images... while sustaining an unforgiving and exacting mastery of line and colour.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

Signed and dated «Robert Frank 74» in black ink below the image l.r., titled and dated «Peru 1947» in black ink below the image l.l., «COPYRIGHT © Robert Frank» stamp inscribed «Robert Frank 1979» in ink on the verso l.l., «ROBERT FRANK ARCHIVE» stamp inscribed «Peru 1947» and «553» in pencil on the verso l.r. Gelatin silver print, image size 9 1/4 x 13 3/8 in.

Intitialed and dated «EW...» in pencil below the image l.r., inscribed, signed, and dated «Original on Palladiotype / Reprint / Edward Weston / 1925» in pencil on the reverse of mount u.c., identified on a label from Amy Wolf Fine Art, New York, on the reverse of the frame.

Inscribed by hand with the artist's notes, this dummy combines the photographs that are on display in the rest of the exhibition with the archival and found documents, and represents the artist's attempts to organise and find narratives in the wide range of images and sources that they have collected.

Placed against a neutral backdrop with their labels inscribed below, Wylie's hard - won forms play on the language of ancient art as well as modernism and the abstract compositions of painters like Franz Kline and Ad Reinhardt, who attempted to divorce image - making from even the most fundamental visual associations.

This work is also about the body of photography, the sheet of paper on which the image is inscribed, and which is necessary to its appearance.

In the ongoing series Sunday Paintings, Byron Kim inscribes personal notes about his daily life onto his painted images of the sky.

These monochrome images are painstakingly rendered in coloured pencil, recalling early natural history illustrations but inscribed with an apocalyptic presence.

From a distance they appear abstract, planes of glitter and graphic shapes; a closer encounter reveals pasted images and objects, inscribed texts, names.

This results in conflicting energies that appear to be incompatible with the self - image of Conceptual art and its emphasis on rationalization since the 1960's: in employing her handwriting as a medium and assembling material - informed montages, Darboven is, furthermore inserting a subjective ductus into her conceptual works, literally inscribing her own life - time, the span in which her works were written, into these: «am burgberg — heute... und keine worte mehr... und eine welt noch.»

Recto: Lower left corner below image, inscribed in black by the artist's studio assistant Bradley Jeffries: «QUIET HOUSE — BLACK MOUNTAIN, 1949 # 5»; after inscription, signed in black by the artist: «RAUSCHENBERG»

Signed «Walker Evans» in pencil on the overmat l.r., with a Lunn Gallery stamp inscribed «XI 3» in pencil on the verso l.c. Gelatin silver print, image size 8 1/2 x 9 5/8 in.

In Sounds Like Her, Boyce is presenting a new development of her ongoing Devotional series with the names of 200 black British female performers inscribed on a wallpaper, overlaid with placards especially created for the exhibition, featuring images of these women, plucked from Boyce's own archive of concert announcements, fashion magazines and other materials documenting popular culture.

Inscribed «KY» 51 / B4» in pencil on the verso u.c. Gelatin silver print, image size 16 1/2 x 12 15/16 in.

From the gallery: The Picture Collection serves as a tabula rasa where images that are historically inscribed and validated sit beside those that are not.

Inscribed and dated «Brett Weston 1970» in pencil l.r. Gelatin silver print on paper mounted to board, image / sheet size 8 7/8 x 7 5/8 in.

Each image in the series is inscribed with bodily presence, though no figures are present.

The Boy in the Tire, Tamazunchale, Mexico (1973) Vintage gelatin silver print 20-1/2 x 16-1/4 inches (image size) 25 x 21 inches (paper size) Signed, inscribed, titled Tazamunchalie, Mexico, dated 1973, notated Printed in Albuquerque in 1973 for My Film «El Chivo» and LA.1981 in pencil, on mount verso

This image inscribes itself in light on the surface.

Although the photograph is inscribed with a date of 1955, recent research by the Robert Rauschenberg Foundation confirms a date of 1958 based on the 1958 date of the Jasper Johns painting Target, which is visible behind Johns in this image.

Signed «RAUSCHENBERG» in black ink l.r., inscribed and dated «XMAS 82» in black ink l.l. Gelatin silver print, image size 4 1/2 More...

Stamped «PHOTO By / ANDRÉ KERTÉSZ» in black ink on the verso l.c., dated and inscribed «2-4-66 / # 6» in ballpoint pen on the verso l.c. Gelatin silver print, image size 6 3/4 x 9 1/2 in.

Signed «Lotte Jacobi» in pencil within the image l.r., inscribed «LORRE» in the negative l.l. Gelatin silver print, sight size 9 x 6 3/8 in.

CONN. 06371...» in ink on mount verso center, Lunn Gallery stamp inscribed «XXIII 102» in pencil on mount verso l.l. Gelatin silver print mounted to board, image / sheet size 9 1/4 x 9 1/2 in.

Signed «Lotte Jacobi» in pencil below the image l.r. and within the image l.l., inscribed «Palladium print made by More...

Signed «Lotte Jacobi» in pencil within the image l.r., inscribed «LORRE» in the negative l.l. Gelatin silver More...

Signed «RAUSCHENBERG» in black ink l.r., inscribed and dated «XMAS 82» in black ink l.l. Gelatin silver print, image size 4 1/2 x 6 3/4 in., framed.

The inscribed circle is a direct reference to one of Tawney's iconic woven images.

Byron Kim's critically - acclaimed series of Sunday Paintings is ongoing since 2001, and depicts nuanced images of the sky inscribed with personal notes.

I am generally interested in the language of painting because it is a permanent quote to history, and the meaning of a work of art should be inscribed in both the history of art and that of the image.

Helen Frankenthaler (1928 - 2011) Spring Veil etching, aquatint and drypoint in colour, 1987, Fabriano Rosaspina paper, signed and dated»87 in pencil, inscribed Bon à tirer, an impression aside from the standard edition of 51 (there were also eight artist's proofs), published by 2RC Edizioni d'Arte, Rome, printed by Vigna Antoniniana, Rome, with their blindstamps, in good condition, framed Image 233 x 355 mm., Sheet: 438 x 654 mm.

Horst P. Horst's 1989 Tulips (est. $ 4,000 - 6,000) is a gelatin silver image measuring 16-1/4 by 14-1/8 inches with the photographer's blindstamp in margin recto; it is signed, titled, dated and inscribed in pencil on verso by Horst, considered one of the most significant photographers of the 20th century known for his elegant, glamorous images.

Gelatin silver print; inscribed with ink and drawings with collage and Acrylic; Signed on recto; Signed, stamped and titled on verso Provenance: Fahey / Klein Gallery, Los Angeles, CA tag on verso Image: 18.5 x 23.75 inches; Framed: 27 x 31 inches; Estimate: $ 30,000 / $ 35,000

Signed «R. Frank» in black ink on the verso l.r., «COPYRIGHT ©» stamp inscribed «Robert Frank 1979» in ink on the verso l.l., «ROBERT FRANK ARCHIVE» stamp inscribed «2642» in pencil on the verso l.r. Gelatin silver print, image size 9 x 13 1/2 in.

Ink on paper; Inscribed «For Dwight, Love From David H., L.A. 1979» in ink on recto; Provenance: Louis Stern Fine Art, Los Angeles, CA; Posner Gallery, Milwaukee, WI; Ikon Contemporary Art, Los Angeles, CA; Douglas Udell Gallery; Gallery tags on verso Image: 17 x 14 inches; Framed: 24.5 x 21.5 inches; Estimate: $ 30,000 / $ 40,000

Signed «R. Frank» in black ink l.r., «COPYRIGHT ©» stamp inscribed «Robert Frank 1979» in ink on the verso l.l., «ROBERT FRANK ARCHIVE» stamp inscribed «2643» in pencil on the verso l.r. Gelatin silver print, image size 13 1/8 x 8 7/16 in.

She Was a Neighbor and Li Lihua (Neighbor 1950 - 1955) crystallize the superstar's lovely image inscribed on his mind for decades.

An interesting problem Verene tackles, as a function of his storytelling, is the delicate relationship between the captions inscribed in the borders of the photographs and the images themselves.

Some titled on versos in Morrison's hand, with an accompanying small inscribed card reading «Photographs by Hedda Hammer» but images unsigned, generally in attractive condition, unmounted.

T01868 CANTUS FIRMUS 1972 — 3 Inscribed «Riley 73» on stretcher Cryla on Canvas, 95 × 85 (240.3 × 216) Purchased from the artist through the Rowan Gallery (Grant - in - Aid) 1974 Exh: La Peinture Anglaise Aujourdhui, Musée d'Art Moderne de la Ville de Paris, Paris, February — March 1973 (55); Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 (64) Lit: Bryan Robertson, «Bridget Riley: Colour as Image», Art in America, LXIII, March — April 1975, pp. 69 — 71; «Bridget Riley in conversation with Robert Kudielka», Catalogue introduction to Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 Since 1969 an important aspect of Bridget Riley's work has been its concern with the interplay between light and colour.

Signed «M Alvarez Bravo» in pencil on the verso l.r., titled in pencil on the verso at the bottom, inscribed «127» in blue ballpoint ink below the image l.l. Gelatin silver print, image size 6 3/4 x 9 5/8 in.

Dance identified on artist's label affixed to the reverse, image size 9 7/8 x 7 1/2; Abstract signed «John Brook» in pencil and inscribed on the reverse, image size 7 3/4 x 9 1/2 in.

Signed and dated «ILSE BING...» in white ink within the image l.r., signed, dated, and inscribed «ILSE / BING... / PARIS» in pencil on the verso at center.

Titled and signed «M Alvarez Bravo» in pencil on verso l.r., inscribed «Tele Rollei c. 1967» in pencil on verso l.c. Gelatin silver print, image size 12 1/8 x 11 1/2 in.

Her work has been anchored by a persistent and evolving inquiry into movement in all of its senses — social, experimental, political, and aesthetic; an exploration of the frames and margins that describe and inscribe space and image.