Sentences with phrase «new black wax»

So have you tried the new white wax yet — or the new black wax?

Not exact matches

I added some embellishments from Efex to the new doors and painted the entire piece in pure white Annie Sloan Chalk Paint topped with black wax.

Although it is a 2012 model, the black exterior has no fading and looks brand new with a fresh wax job.

In a decade from now, the physical book could be a quaint, archaic remnant of a by - gone past akin to wax records and black & white tube TVs, thanks to devices like the All - New Nook and the new Kobo Touch, essentially ereaders for the rest of us, especially the least tech savvy readeNew Nook and the new Kobo Touch, essentially ereaders for the rest of us, especially the least tech savvy readenew Kobo Touch, essentially ereaders for the rest of us, especially the least tech savvy readers.

Photo: John Jerome; Donald Judd, untitled, 1961, Liquitex and sand on plywood, with routed lines, 48 x 96 in; Donald Judd, untitled, 1961 - 1978, woodcut in ivory black on offset paper, 22 x 30.5 in; Donald Judd, untitled, 1962, oil and wax on canvas, 69 x 101 3/4 in; Donald Judd, untitled, 1963, Cadmium red light and black oil on wood with galvanized iron and aluminum, 50 x 42 x 5 1/2, installed on the Fifth Floor of 101 Spring Street, New York.

Solomon R. Guggenheim Museum, 2012 Wall colour taken from an exhibition wall at Solomon R. Guggenheim Museum, New York mounted on a frame stringed with canvas, framed in a black waxed oak frame

On display are also a monumental double staircase, new black and red houses of Indian granite, and wax sculptures.

Reacting to the Minimalism and Conceptualism that emerged in the United States in the «60s, in 1966 Twombly, embarked on a new series of austere paintings, with backgrounds of grey or black inscribed with simple forms or script - like loops in white wax crayon.

The exhibition culminates in Untitled: Clowns, a new body of work resulting from this rural sojourn — and also the aftermath of the American Presidential Election — in which giant masks of black soap and wax melt down grids of white ceramic tile.

1995 25 Americans: Painting in the 90s, Milwaukee Art Museum, USA Selected Works from the Collection The Irish Museum of Modern Art, Dublin, Ireland Black & White & Read All Over, La Salle Lobby Gallery, Nationsbank Plaza, Charlotte, USA American Art Today: Night Paintings, The Art Museum, FL InternationalUniversity, Miami, USA The Artist's Camera, Photographs by Contemporary Artists, Thread Waxing Space, New York, USA From Impulse to Image, Virginia Museum of Fine Arts, Richmond, USA Fiftieth Anniversary Celebration for Human Rights, United Nations, Geneva, Switzerland Louvre, Paris, France, Commissioned for a special print edition Print Cabinet, Musee d'art Moderne, Geneva, Switzerland Philadelphia Museum of Art, PA Commissioned for a special print edition From Picasso to Woodrow: Suite of prints Long Vertical Falls, Tate Gallery, London, England

«Physical Evidence,» Lehman College Art Gallery, Bronx, NY, April 12 — May 28, 1994 «Duchamp's Leg,» Walker Art Center, Minneapolis, MN; traveled to the Center for the Fine Arts, Miami, FL; brochure «The Magic Magic Book,» Whitney Museum of American Art, New York, NY, 1994; catalogue «New Paintings,» Max Protetch Gallery, New York, NY, 1994 «Black Male: Representations of Masculinity in Contemporary Art,» Whitney Museum of American Art, New York, NY, 1994; traveled to the UCLA Hammer Museum, Los Angeles, CA; catalogue «Transformers: The Art of Multiphrenia,» Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY; traveled to Decker Galleries, Maryland Institute College of Art, Baltimore, MD; Herbert F Johnson Museum of Art, Cornell University, Ithaca, NY; Nexus Contemporary Art Center, Atlanta, GA; Art Gallery of Windsor, Windsor, Ontario, Canada; Illingworth Kerr Art Gallery, Alberta College of Art and Design, Calgary, Alberta, Canada; catalogue «Dark o'Clock,» Museu de Arte Moderna de Sâo Paulo, Sâo Paulo, Brazil, 1994; traveled to Plug In, Inc, Video Pool, Ace Art, Winnipeg, Manitoba, Canada; catalogue «Stories,» Max Protetch Gallery, New York, NY, 1994 «Equal Rights and Justice, High Museum of Art,» Atlanta, GA, 1994; traveled to the National Museum of African American History and Culture, Smithsonian Institution, Washington, DC; catalogue «Drama,» Max Protetch Gallery, New York, NY 1994 «Oliver Herring, Byron Kim, Glenn Ligon,» Galerie Gilles Peyroulet, Paris, France, 1994 «The Label Show: Contemporary Art and the Museum,» Museum of Fine Arts, Boston, MA, 1994; brochure «Don't Look Now,» Thread Waxing Space, New York, NY, 1994; catalogue

«Rashid Johnson,» focuses on the artist's sculptural and installation works, and «Rashid Johnson: Anxious Men» explores a series of black soap and wax - on - tile portraits presented in a site - specific installation in the Drawing Room gallery in New York.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

The exhibition features a new series of black - soap - and - wax - on - tile portraits mounted on a custom wallpaper, and it runs through December 20.

This new set expands the solid color, showing a variety of finishes — Dark Wax, Black Wax, Mica Waxes like Gold, Pewter, Copper, Silver, Topcoat and Glaze...