Sentences with phrase «large paintings in the exhibition»

Of the large paintings in this exhibition, Walpurgisnacht - Faust I sets the stage for Müller's argument.

The three large paintings in the exhibition mark Whitten's turn away from the overtly figurative to a form of subliminal figuration.

They include the landmark works Elephant, 1987, at 18 feet long the largest painting in the exhibition, and Debris, 1971, which is 17 feet long.

In Time Out New York, Jennifer Coates reports that the four large paintings in the exhibition look like they could be representing imaginary places, but they are in fact based on news photos from the Internet.

Hancock imagines their merger causing an upset in the atmospheric balance set out in the previous storyline and the three large paintings in the exhibition — I Want to Be at the Meeting After the Separation, Referee, and I Know Just How You Feel — illustrate the moments of adjustment as our eyes attempt to focus and our brains try to decide where one being stops and the other begins.

The large paintings in this exhibition are composed of approximately 7 individual layers of paint, many more than in previous similar works, and so they achieve another level of luminosity and movement.

Paean, the largest painting in the exhibition, is more rigid

There are three large paintings in the exhibition, including «Moon & Shack» (1976), which is done on an unusual format measuring 72 x 18 inches.

It is a conversation between Sturgis and Pia Gottschaller, a technical art historian, that took place in his studio about two large paintings in the exhibition Over and Above and Happy in Your Skin, 2014.

Many of the large paintings in this exhibition are drawn from Steir's Waterfall series, which she began producing in the 80s and continues to work on to this day.

Others call to mind the gestural painting of Joan Mitchell, especially the one large painting in the exhibition, «Peaceful Waters,» rendered on a 15 - foot - high scroll of Yupo paper.

Not exact matches

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquIn the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.&raquin paintings made quickly.»

In the introduction Haynes writes: «For her new exhibition... Semmel has created 12 large paintings, many of which have two layers, each with a nude self - portrait.

Thus, an exhibition now on view at Lori Bookstein Fine Art in New York that showcases a number of Müller's mature, large - scale paintings is a welcome, if short lived, opportunity to see his monumental Abstract Expressionist allegories.

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

She presented two dozen harmoniously blended paintings and drawings (none larger than 25 by 23 inches) in her third solo exhibition at Corbett vs. Dempsey.

Opening at Mana Contemporary in Jersey City on Saturday, May 10 and continuing to August 1, 2014, the exhibition will present work from Resnick's entire six - decade career, including a rare 1937 portrait; quintessential Abstract Expressionist paintings from the 1940s and»50s; a selection of the large allover paintings of the 1960s through 1980s for which Resnick is best known; and a group of late figurative works.

This summer, I made four visits to Roland Reiss» studio to discuss his new Floral Paintings — which will be on public view in his upcoming retrospective at Begovich Gallery, California State University, Fullerton in November and a large exhibition in Los Angeles at Diane Rosenstein Fine Art in December.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationIn his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationIn the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin which his primary source of artistic creation were contemporary facts of violent confrontations.

Highlights of the exhibition include a rare Julia Margaret Cameron photograph made in Sri Lanka towards the end of her life; a self - portrait by Ellsworth Kelly drawn in Paris in 1949; the first collaborative work by Peter Fischli and David Weiss, a set of 10 photographs called the Sausage Series; a new painting on paper by Brice Marden; one of the art brut artist Adolph Wolfli's largest and most important drawings; a portrait of Lucian Freud by Walker Evans; and a mescaline drawing by Henri Michaux.

For her solo exhibition at Ameringer McEnery Yohe in New York, the artist has created the large - scale painting Untitled (2014), alongside six smaller paintings comprising extracts of the first.

Inside Outside is the largest - ever presentation of his sculptures and the first exhibition of sculpture and painting in the UK.

Contracted for a six week period to work with a team of artists to produce large scale acrylic paintings for exhibition at Deitch Projects in NY, NY.

Simultaneous to the painting show at CMCA, Bowdoin is showing six large - scale drawings in a small but powerful exhibition, «John Walker: A Painter Draws.»

Showing a continuous programme of exhibitions including contemporary paintings, works on paper, sculpture and installations, the gallery is also the largest publisher of contemporary editions and prints in Europe.

In 1947, at the height of the Abstract Expressionist era, the Museum of Modern Art mounted an exhibition called Large - Scale Modern Paintings; to qualify for inclusion, paintings had to measure at least six feet in one directioIn 1947, at the height of the Abstract Expressionist era, the Museum of Modern Art mounted an exhibition called Large - Scale Modern Paintings; to qualify for inclusion, paintings had to measure at least six feet in one dPaintings; to qualify for inclusion, paintings had to measure at least six feet in one dpaintings had to measure at least six feet in one directioin one direction.

One of the masterpieces in the exhibition is a large painted chromed steel sculpture by John Chamberlain.

The remaining thirty - two paintings make up the remarkable second half of the exhibition culminating in the five Grand Décorations (large scale Water Lilies) made in surprising and relative obscurity at Giverny at the end of Monet's life.

In his 1950 exhibition at the Betty Parsons Gallery, he put up a notice that while there is a tendency to look at large paintings from a distance, these works were intended to be seen from close up.

Organized in partnership with the Art Gallery of Ontario (AGO), supported by the Estate of Jean - Paul Riopelle in Montréal and the Joan Mitchell Foundation in New York, the exhibition will focus mainly on large - format paintings from French, Canadian and American private and museum collections.

Several years later, in 2013, the Museum of Modern Art in Stockholm held the, as of yet, largest retrospective solo exhibition of the artist, featuring a collection of approximately 230 paintings.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

The second half of his solo exhibition includes a series of collaborative figurative sculptures — papier - mâché legs outfitted in Riepenhoff's pants and shoes holding large - scale paintings by artists from Milwaukee, Chicago, New York, and Atlanta, including:

The exhibition comprises large scaled paintings Sall produced during his recent residency at the Roswell Artist - in - Residence Program in New Mexico.

At the Pulitzer Arts Foundation in St. Louis, where the 28 - foot - tall Kelly work composed of two monochrome aluminum panels painted blue and black is permanently installed, Mr. Ligon has free - associated on the political, formal and poetic interplay of these two colors in a large - scale exhibition he has organized.

The core of the exhibition is eight large, recent paintings consisting of zigzag horizontal and vertical stripes done in variations of Veronese green and deep, rich blue, punctuated by white, ochre, red, and cadmium yellow.

Designed by the MNBAQ and organized in partnership with the Art Gallery of Ontario (AGO), supported by the Joan Mitchell Foundation in New York and the Estate of Jean - Paul Riopelle in Montréal, the exhibition mainly presents large - format paintings, a number of works on paper and archival documents from more than 30 French, Canadian and American lenders, private and museum collections.

In addition to his paintings, the exhibition will present a large selection of Scully's sketches from 1967 - 1969, which still provide the artist with inspiration to this day.

The exhibition will include Kürten's most recent large paintings, executed in acrylic and ink on linen, as well as more than twenty smaller paintings on primed cardboard.

This solo exhibition of paintings that prominently features artist Jack Whitten's large - scale 2005 painting 9.11.01 that was made in response to the September 11th tragedy, as well as the Martin Luther King series that he made in the 1960s.

Erin Lawlor's new exhibition Four Paintings: London Fields comprises four pieces selected from a larger group of paintings producedPaintings: London Fields comprises four pieces selected from a larger group of paintings producedpaintings produced in 2014.

Tom Torluemke's recent shows have featured narrative painting, and something like a human body is represented in the large watercolor «In Search of the Lost Sole by the Sea» in this exhibitioin the large watercolor «In Search of the Lost Sole by the Sea» in this exhibitioIn Search of the Lost Sole by the Sea» in this exhibitioin this exhibition.

For an abstract painter today experiencing for the first time, Monet's large scale paintings in the room called: Studies: Water Lilies, Weeping Willows, and Irises 1914 - 1919, beginning the second half of the exhibition there can only be a profound shock of recognition.

The exhibition makes the most of Tate St Ives» expansive new display areas to show a number of Heron's large - scale paintings, and marks the evolution in his visual language, aesthetic sensibility and practice.

My main studio for oil painting is in Zhongshan, China, and at the moment I am working on a large batch of canvasses in preparation for my first solo exhibition, which will be held at the artist village compound where my studio is located.

In October 2017, the Chinati Foundation inaugurated a large new multicolored wall painting by Bridget Riley conceived specifically for the museum's special exhibition building.

The exhibition at RJD features five paintings with one or two figures in each, instead of a larger cast of characters.

Organized in partnership with the Musée national des beaux - arts du Québec, supported by the Estate of Jean - Paul Riopelle in Montréal and the Joan Mitchell Foundation in New York, the exhibition will focus mainly on large - format paintings from French, Canadian and American private and museum collections.

His recent Mojave Desert paintings done on site in Joshua Tree National Park, California are a highlight of the exhibition; large, lyrical compositions of cliffs and boulders that all but dissolve into fields writhing and swelling with lambent reds and oranges.

The Birmingham Museum of Art is proud to present Third Space, the first large exhibition of contemporary art from the Museum's own collection.Third Space features over 100 works of art in a variety of mediums, including painting, sculpture, drawing, photography, and...