Sentences with phrase «later paintings the spaces»

Not exact matches

When we think of entrepreneurs deciding to go to space, like Branson, Musk, and Bezos, or take on malaria like Bill Gates, are we not seeing people expressing themselves with freedom like Monet in his later years, when he had the freedom to paint anything he wanted?

Just as entertaining are the assists McConnell makes in impossibly tight spaces, as when he made a deep - in - the - paint delivery to Tarczewski around a Bruin's back later in that same game.

It's the work of Baltimore born Maya Hayuk, «her paintings and massively scaled murals recall views of outer space, traditional Ukrainian crafts, airbrushed manicures, and mandalas» as I read later on the website.

In the later years, the designs covered the entire space, which often contributed to the crowded nature of these Balinese paintings.

When there's no major temple ceremony on, which otherwise occupies this space with towering fruit and flower offerings, it is filled with local artists and craftsmen displaying their latest work, from batiks to framed paintings and statuettes.

In his latest series of street art, Hulu continues to paint beautiful women submerged in water, but he has also started to venture further afield onto dry land, finding interesting spaces to apply his portraits.

Other highlights this weekend include Bushwick Basel, in which 11 mainstays of Bushwick's gallery scene will be curating their own show within Starr Space; the Buswhack series of performance and film at the Bushwick Starr; «Sculpture Garden» at the Historic Onderdonk House, a group show of sculpture co-curated by Deborah Brown of Storefront Bushwick and one of our favorite local artists, whose latest series of paintings, «Freewheeling,» opens at the Active Space during the festival.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

Forty - four sumptuous canvases, along with related objects, trace the artist's journey from painting still lifes in intimate interiors in the late 1920s, to vibrant, large - scale spaces in the 1930s, to more personal interpretations of daily life in the 1940s.

This month at Tribeca's Untitled Space gallery, contemporary artist Rebecca Leveille presents a collection of colorful, sensual paintings for her latest exhibition entitled The End of Love.

[30][31][32] The late 1960s saw painters turning to surface inflection, deep space depiction, and painterly touch and paint handling merging with the language of color.

Upon entering the museum we are wowed with a suite of the late paintings, large ones, that sweep across the space and capture our attention in a dizzying display of what can only be described as painterly pyrotechnics.

In 1955, she moved to Paris, France, and later moved from the city to a small town called Vétheuil, where she had more space to paint and was surrounded by nature.

The forms she paints inhabit a shallow, cubist - like space, if I have the chronology correct many of the later works are larger in size.

Nearly all the paintings in this show of recent work by Geoff Hippenstiel, a Houston - based painter in his late 30s, feature a single massive shape occupying most of the available space.

Some are studies, some examinations of specific spaces, interiors, textures, and moods, the artist would later feature in his oil paintings.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

By the late 1970s, he had begun to build the surface of his paintings with foam, rubber, rope, and typewriter paper, causing the works to become increasingly heavy and extending dramatically into space.

These paintings sent his art star shooting high quickly in the late 1970s in New York, with shows at Artists Space, Mary Boone and the Whitney Biennial, all within three years.

Exhibiting a wide variety of mediums including photography, video, painting, sculpture, drawing and site - specific installations, Party Out Of Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigma.

Locks Gallery is pleased to present Edna Andrade: Astrologer's Garden, an exhibition bringing together paintings and drawings by the late artist highlighting her thematic and formal explorations of space.

Shoot the Lobster, the roaming project space belonging to Chelsea dealer Jose Martos, is winging its way to the West Coast later this month, bringing six new Henry Codax paintings to Los Angeles.

Points of View: Jonathan T.D. Neil on the latest empassioned debate on art, money, markets and value; J.J. Charlesworth, in Dubai, on how contemporary art is driving the economy; Maria Lind on the power of bureaucracy; Mike Watson on the politics of the uselessness of art; Sam Jacob on preconceptions and disciplinary boundaries; Hettie Judah on Fashion in the museum and art on the catwalk; Jonathan Grossmalerman finds a new subject for his paintings; Oliver Basciano on off - space Project LALO in London & Los Angeles.

These drawings and paintings form only a small part of Mammen's oeuvre, however, with her later work expanding to include sculpture — clearly influenced by the likes of Henry Moore, with an interest in the permeation of mass and space — and various styles of abstract painting, incorporating both a Picasso-esque period and a later phase of collage and childlike strokes, calling to mind the likes of Paul Klee and Joan Miró.

Her 2017 one - person show at Space Create gallery was well received and featured her latest painting series entitled «Mapping», loosely inspired by the 1982 film Koyaanisqatsi and in which she starts each painting with her own version of automatism.

His new paintings are a long way from the cagey underground - comix - meets - Italian - literature - scholarship sensibility manifested in «Twilit Ensembles,» to which he hearkens back with several later series of spookily whimsical captioned charcoal drawings in the gallery's small project space.

Notoriously elusive Dean Blunt gives little away in the materials surrounding New Paintings, his latest exhibition for Hackney's [space].

In the late 1960s Lynda Benglis became famous for her radical re-envisioning of sculpture and painting through her early works using wax and latex, which she poured on to the ground to take painting off the canvas and into architectural space.

Evolving from the iconic Spot Paintings, which are among Hirst's most recognized works, the Colour Space paintings revisit the free and spontaneous nature of his first two spot paintings from 1986, exactly thirty yeaPaintings, which are among Hirst's most recognized works, the Colour Space paintings revisit the free and spontaneous nature of his first two spot paintings from 1986, exactly thirty yeapaintings revisit the free and spontaneous nature of his first two spot paintings from 1986, exactly thirty yeapaintings from 1986, exactly thirty years later.

His twenty - eight paintings in Chelsea, like his appearance at the 2018 art fairs, start with his latest — in part to give the largest and squarest early paintings enough space in back.

Also given prominent spaces are Channa Horowitz, who died last year, with large - scale, intricately constructed ink drawings on mylar that are reminiscent of Hanne Darboven's numeric abstractions, and leporellos — painted accordion - folding books — by Etel Adnan, the Lebanese - American writer and artist who participated in dOCUMENTA 13 and has an exhibition at the Arab Museum of Modern Art (aka Mathaf) in Doha coming up later in March.

A degree of mannerism is apparent in his later paintings, in which wraithlike figures «float in a watery netherworld» in a deeper pictorial space than that of his compositions of the 1930s.

This exhibition, specially conceived by the artist for the Lisson space, will include two of the latest wall paintings within the main ground floor gallery that will face each other across the L - shaped exhibition space.

Seeing this little stack of paintings and, later, the studio's remarkable archive — which houses much of the artist's output from the last 40 years or more — in geological strata - like piles, I realized that I'd brought the right tool to photograph the space.

This survey of paintings by the late Dan Christensen (1942 — 2007) documents his never - ending quest to understand the possibilities of color, paint, and pictorial space.

This «paintersculptor», as Castoro called herself, began her career in the field of graphic art but soon became interested in dance, from which she acquired the conception of space, later turning to painting and then sculpture.

Transitioning from the sparer, more graphic works of 1960 — 61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the «total color image» that would become a hallmark of her later work.

Meditative, large - scale paintings augmented by smaller studies in oil and ceramic reimagine the domestic spaces of her relatives with a focus on her late grandparents» mid-century suburban home.

In both Nijinsky (1950) and Ninth Street (1951), Kline opens up the space of the paintings by allowing his line a flexibility that his later work is without.

His luminous disk paintings from the late 1960s made him a pioneer in the Los Angeles - based Light and Space Movement, along with such artists as Larry Bell and James Turrell.

The museum chose the two paintings, part of a series made late in the artist's life, to open its inaugural exhibition, «The Everywhere Studio,» which explores the spaces where artists work.

September 24 - October 29, 2011 MINUS SPACE is delighted to present the exhibition Ted Stamm: Paintings, an overview of paintings, works on paper, street interventions, and other materials by the late NYC - based abstractPaintings, an overview of paintings, works on paper, street interventions, and other materials by the late NYC - based abstractpaintings, works on paper, street interventions, and other materials by the late NYC - based abstract painter.

He would later say that the tape, as it passes through or along paintings, objects, people or purely space, does so to «sanctify the place as a place of art.»

Extending from the late 1970s to today, this selection of work reaches beyond the limitations of medium to emphasize the slippage between painting, film, photography, pictorial space, and performative space.

The displays include a room of late works by American painter Agnes Martin, an iconic work by Martin Creed, Half the Air in a Given Space, which sees the spectacular sea - facing galleries filled with hundreds of balloons; a selected display of the late Margaret Mellis» paintings and constructions, as well as works by Naum Gabo, Roman Ondak, Fischli & Weiss, Lucio Fontana and Anri Sala.

Park's paintings evolved from a use of shallow cubist space, often in black and white, to the rhythmic lines and vibrant color of her later work.

«Le Côté Sombre» («The Dark Side») brings together Georg Baselitz's latest painting and sculpture at Thaddaeus Ropac's sprawling new space in Pantin, a couple of miles north east of Paris.

Non-Objective painting (and later Abstract Expressionism), with their focus on matters of the spirit, seem to have flown right past the immediate environs of their creators, thereby sidestepping any significant reimagining of urban and architectural space.

Kenton Parker moves through the landscape, later memorializing it with paintings of symbol - marks, creating an internal safe space for the artist.

His decision to go tiny hinged on his available studio space and his reaction to the large and even larger paintings being exhibited in NYC in the late»80s.