Sentences with phrase «new oil paintings with»

Not exact matches

New York - based designers Workshop / APD have brought this intriguing vibe to life with the use of natural materials such as weathered brick, oiled steel, and worn concrete, creating a unique 160 - seat dining room joined by a large shipping container set in the middle of the space adorned with hand - painted graffiti - and media - inspired designs by Brooklyn - based artist, Mr. Ewok One.

The film uses a new oil painting for each shot, with movement added from one frame to the next by a painter's brush.

Dooling's oil paintings nicely capture the feel of shtetl life, the horror of the systematic persecution of the Jews, and the uncertainty that goes along with leaving everything familiar to live in a strange new land.

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Formally trained in Illustration at the Rhode Island School of Design, Alexandra's relationship with watercolors started with an odd step when she was forced to choose a new medium after developing an allergic reaction to oil paints.

With a world so full of serious questions, I'm just trying to let viewers laugh as they construct their own narrative from some new oil paint humorously added to some old, neglected bit of Americana.»

To speculate on the psychological implications of Jim Dine's 15 - year obsession with uninhabited bathrooms (11 monumental oil paintings of robes made up the bulk of his recent exhibition at the Pace Gallery in New York), is to ponder on Dine's personal identity.

Born in Woodstock, NY and educated at upstate New York's Bard College, Lee's love of painting the world around him dovetails with his desire to do his bit to save it; to that end, he uses socially responsible and environmentally friendly materials, like walnut oil paints made by a family - owned Oregon company, whenever possible.

Previous solo shows with the gallery include recent painting (New York, 2010); paper (New York, 2013); oil paintings and sun (New York, 2015); watercolor and small oil paintings (London, 2017); and recent oil paintings (New York, 2017).

In the last few years New York - based artist Michael Williams (born 1978) has evolved from making large gestural oil paintings to similarly scaled paintings printed with a billboard - sized inkjet printer.

Peter Hoffman is a New Orleans - based artist who primarily works with oil paint on canvas.

New oil paintings on view are filled with dynamic figures that span reality (an upside down figure on a roller coaster) and a sense of surrealism (a figure lounging on the beach in red flips flops, atop clouds, with some body parts replaced by shapes).

With nothing more new - age than oil on panel, he has produced paintings that project a powerful radiance from within an abstracted haze.

Don Voisine, Buzz, 2009 Oil on wood 17 × 17 inches «A week after the opening of his exhibit of a new group of paintings, which will be on view at McKenzie Fine Art Inc, located at 511 West 25th Street, till June 6, 2009, the painter Don Voisine visited the Rail's Headquarters to talk with Assistant Art Editor Ben La Rocco, and contributing writer Craig Olson about his life and work.

Like de Kooning's paintings of the period, Baselitz's new works impart a watercolor - like fluidity, achieved through the thinning of oil paints with turpentine and their swift, loose application.

From «Mother» (2017 — 2018), three new large - scale oil paintings, which borrow their imagery from Disney films, are shown in conjunction with a painted steel sculpture of a female nude in a classical twisted pose.

These works were difficult to categorize: though I thought of myself as a painter, as I had earlier when working with gouache on paper, in defiance of the rules left over from Greenbergian formalism in the New York School that made oil or acrylic on canvas the probative medium, these were not paintings.

Thea Ballard with a short review on Bracha L. Ettinger's latest exhibition at Callicoon Fine Arts, New York: «Though small and even unassuming, her striated oil paintings (in deep bodily reds and purples) are rewarding and dense - both in theoretical weight and in composition, her method involving a years - long process of layering.»

This new type of painting grew out of the sketches that she did on the chalkboards in a disused closed primary school with oil pastel.

Included alongside Hirst's work were a large series of Dominic Denis's oil on canvas paintings, «Directions» (1990), and a new series of Angus Fairhurst photographic works layered with gel.

Her new multimedia exhibit will feature large - scale oil paintings, drawings, watercolor paintings, an installation and a pop - up store with tote bags designed by the artist.

Other highlights of Happenings: New York, 1958 — 1963 include Jim Dine's «Car Crash,» 1959 — 60, a dark oil and mixed - media painting on burlap with crosses, exhibited during «Car Crash» (performed at Reuben Gallery, November 1 — 6, 1960), and «The Valiant Red Car,» 1960, on loan from the Smithsonian American Art Museum, the painting that hung in the lobby of the gallery during the same performance.

Just as the artist Natalie Frank has begun to attract widespread attention for her expert paintings that collide art history, theater, and dread - inducing violence, she has deked into a new direction with her latest works, which trade her customary canvases for wooden board that she paints with enamel and then overlays with patches of cut - out canvas that she paints with oil.

His latest show, «Kindly Bent to Ease Us,» at Mary Boone's gallery on the southern edge of the Upper East Side, is a riot of reproduction, repurposing and appropriation, with oil paintings of a friend's family Christmas card; of a panel discussion («Is the Universe a Simulation, Moderated by Neil deGrasse Tyson»); and of works by Richard Prince, the sculptor Frank Benson and the artist Eric Drooker, who is known for his New Yorker covers.

Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

Previous solo shows with the gallery include recent painting (New York, 2010); paper (New York, 2013); oil paintings and sun (New York, 2015); recent oil paintings (New York, 2017); and watercolors and small oil paintings (London, 2017).

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

For his recent series of work entitled Easy Fun - Ethereal, Jeff Koons employs new computer technology to merge populist icons into desktop collages, which he then transforms into traditional oil paintings rendered with photorealist precision.

The show will occupy the entire gallery with six new oil paintings and fourteen kite pieces, created from innumerable hand - painted and collaged rice paper and bamboo «kites,» Hashimoto's signature medium.

Developing their careers in the 1960s rather than the 1950s, the New York artists used new water - based acrylic paint on primed canvas to achieve an oil - like richness of color along with crisp lines through acrylic's plastic qualiNew York artists used new water - based acrylic paint on primed canvas to achieve an oil - like richness of color along with crisp lines through acrylic's plastic qualinew water - based acrylic paint on primed canvas to achieve an oil - like richness of color along with crisp lines through acrylic's plastic quality.

Wood has developed six portfolios of work and adds to them frequently... Found Object Sculpture, Hand - Carved Sculpture, Tapestry With Found Objects, Drawing, Oil Painting on Canvas or Glass, and the newest... Collage.

Long - haired high - heeled budding Asian collectors noted down work by new names such as the charming light - as - air butterfly oil painting at the Grosvenor gallery by Senaka Senanayake and took selfie - souvenirs in front of Love Struck, wrought by D * Face with «enamel and pigment based paint on medium grain cotton duck canvas».

In his new paintings, on display at Contemporary Fine Arts in Berlin through July 28, Schnabel uses digitally printed photographs on polyester as a starting point, then overpaints with resin, oil, gesso and ink.

Eddie Martinez is a renowned painter and sculptor from Brooklyn, New York, widely known for his extraordinary mixed media paintings which often incorporate markers and spray paint, fused together with oil paint, all applied in aggressive manner and in contrasting combinations.

In contact with nature he made several small oil paintings that he turned into large - format works in his studio back in New York.

Although best known for his portraits and still lifes executed with oil paint, pastels, watercolor and ink, Sullivan is also a photographer who has been capturing images of life in New York, and of his own family and friends, since his teenage years.

At first blush these dense oil paintings with owls, raccoons, deer, hummingbirds, wheat fields — seem remarkably American and indeed Newsom, long in New York, comes from the heartland of middle America.

For her first exhibition with Sean Kelly gallery and her first solo show in New York since 2014, Sam Moyer has realized a vibrant series of large - scale paintings as well as an architectural sculpture, and a range of drawings with oil on paper.

ASHLEY BICKERTON Wall - Wall Triptych No. 1 (Double Silver / Psychedelic), 2016 oil paint on resin and fiberglass on plywood with aluminum 70.87 x 47.24 x 5.91 inches 180 x 120 x 15 cm LM23483 Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

The forthcoming exhibition will include over 20 new oil paintings, on which she has been working for over 3 years, together with a group of new works on paper, including acrylics and her first series of woodcut prints.

What / Why: «ACME Fine Art will welcome in the New Year with an exhibition of watercolors and oil paintings by four notable modern artists who chose the coast of Maine as their subject matter during the mid-twentieth century's revolutionary artistic heyday.

On display are oil paintings, experimental works on paper, and a monumental new mural that was created in collaboration with Peter Doig's students.

Image: Henri Matisse La fille aux yeux verts (The Girl with Green Eyes), 1908; painting; oil on canvas; Collection SFMOMA, Bequest of Harriet Lane Levy; © Succession H. Matisse, Paris / Artists Rights Society (ARS), New York

At the heart of this exhibition are three new such series: a line of five pastels, treated like a kind of reverse sculpture, with fat sticks of chalky pigment ground back to dust and worked into thick pages of handmade paper; a sequence of 18 watercolours in which pairs of pigments are dissolved into each other, layer over layer, into veils of translucent light; and a series of ten tall, vertical sheets of waxed butcher's paper, carrying oil paint dissolved into skins of solid and liquid colour.

This catalogue is published in conjunction with Minus, Tal R's second solo exhibition at Victoria Miro Gallery, which features a new series of large - scale oil paintings and works on paper.

This exhibit merges new technologies and materials in printmaking with oil paint, gouache, flashe, and the ancient art of encaustic.