Sentences with phrase «number of artists left»

Bamboo works remained utilitarian in nature until the mid-20th century when a small number of artists left the traditional path and experimented with sculptural forms.

Not exact matches

Still, political rivals made hay on social media of the fact that a number of signatories are backers of the left - leaning New Democrats (NDP), including politicians like former Ontario provincial NDP leader Stephen Lewis, artists like film - maker Sarah Polley, and trade union members like Canadian Union of Public Employees president Paul Moist.

All in the details: Model Arizona Muse opted for a bit of glitz in her sequin number (left) as she arrived at the party around the same time as make - up artist to the stars, Charlotte Tilbury (right)

Finishes by looking at back to back stem and leaf diagrams using data of number of weeks of Top 40 singles from Ed Sheeran and One Direction (taken from the official chart on 29/12/14)- I recommend finding the most up to date data for this, or more up to date artists, to ensure maximum pupil engagement:) Step - by - step, fun and real life lesson for stem and leaf diagrams for KS3 and KS4

Typically depicted performing ordinary activities and unmoored from any singular historical narrative, the identities of the persons the artist portrays are left open to any number of interpretations.

The Ashmolean Museum's major survey of American artists is significant not only for the novel focus it brings to interwar art in the USA, but also for the number of paintings included that have never before been to the UK — 17 of which haven't previously left the States.

Lukova, whose work has been featured in solo exhibitions worldwide and in permanent collections at the MoMA, the Library of Congress, and the Bibliotheque Nationale de France, was listed as number one in a Huffington Post article related to the MoMa exhibition titled «15 Women Artists Who Have Left Their Mark on Modern Design.»

However, while the subtle collisions between the bowls suggest the unpredictable complexity of a stochastic pattern in nature, the artist has experimented with and refined all of the components over time — the shape and size of the pool or pools, the temperature and speed of the water, and the type, size, and number of floating vessels that subtly peel off to the left or right of a diametrical current directed at the center.3 For the artist, the configuration of elements in his generative systems is tuned to be «both operational and identifiable as the score of the musical form it produces.»

Mass Recording (To Be Read From Right to Left) is a recent photographic work by Erik Blinderman that continues the artist's inquiry into the intersection of representation, media, and politics in contemporary life where an increasing number of individuals have the means to record, manipulate, and circulate information.

Installation view with work by MINUS SPACE artist Manfred Mohr at left January 17 — April 6, 2008 Examining the intersection of digital technology and the graphic arts, Imaging by Numbers surveys the use of computers in printmaking and drawing through approximately 60 works created by nearly 40 North American and European artists from the 1950s to the present.

The increased number of Asian galleries was matched by their quality: Shanghai's Leo Xu Projects offered an excellent — although very cramped — group show of the work of emerging artists in which huge mirrored screens bearing printed images of landscapes vied for position with quieter works, such as a composition made up of hundreds of rows of tiny brown - paper squares with their bottom left corners delicately curled upwards and aaajiao's vertical sequence of smartphones collectively displaying a video of a long stream of water.

Speaking of the collection, he said: «I expand my use of coiled construction, which allows me to work in a number of roles simultaneously (designer, artist, craftsman, etc.) with minimal concern for the distinctions or boundaries imposed on the work once it leaves the studio, often resulting in work that is hybrid or plural in nature.

Color Grano lithograph on paper 36 x 28 inches Edition of 99 Signed and dated «99» by Jeff Koons in pencil lower right recto Numbered by the artist lower left recto Pristine condition, Unframed

Color screenprint on Kurotani Hosho paper 24 x 19 inches Edition of 50 Signed & dated in pencil «J Johns 79 - 81» lower right Numbered in pencil lower left Printed By Kenjiro Nonaka, Hiroshi Kawanishi, Takeshi Shimada Published by Jasper Johns and Simca Print Artists, Inc., 1981

Intaglio from 10 copper plates on Barcham Green paper 15 1/2 x 12 1/2 inches Edition of 100 with 20 artists proofs Signed & Dated in Pencil «J Johns 75» lower right Numbered in Pencil by the Artist lower left Literature Richard Field, The Prints of Jasper Johns 1960 - 1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 155, n.p., another impression reproduced in black and white.

Color screenprint on 100 % rag paper 12 x 9 inches Edition of 300 Numbered by the Artist in pencil lower left recto Signed «Louise Nevelson» in Pencil lower right Stamped in black on verso» © Copyright 1973 By Louise Nevelson Printed At Styria Studio» Printer Styria Studio Publisher Experiments in Art & Technology

HELEN FRANKENTHALER (b. 1928) First Stone (Harrison 1) lithograph in colors, 1961, on Arches, signed and dated in pencil, numbered 2/12 (there were also 5 unnumbered artist's proofs), published by ULAE, with full margins, two pinholes in the blank at lower left, very pale time staining, remains of old glue at the reverse of the margin corners, otherwise in good condition, framed S. 22 1/4 x 29.7 / 8 in.

In «Sarah Sze at the Fabric Museum and Workshop,» the artist undertakes a serious and almost languid investigation of a number of tactile and pictorial elements, but leaves the ultimate question for the audience to answer.

HELEN FRANKENTHALER Radius (H. 234) woodcut in colors, 1992 - 93, on White TGL handmade, signed and dated» 93» in pencil, numbered 30/30 (there were also 8 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, one small area of surface soiling in the upper left sheet corner, hinged to the support in places at the reverse of the sheet edges, otherwise in very good condition, framed S. 28 x 28 in.

Vo's «Numbers (9),» a work from 2011 with the number 9 on gold leaf on an unfolded cardboard box, sold for 314,500 pounds, surpassing the Vietnamese - born artist's auction record of 206,500 pounds set earlier this week at Phillips» contemporary art evening sale in London.

Color screenprint on Kurotani Hosho paper from 16 screens 22 1/4 x 18 1/4 inches Edition of 100 with 10 artist's proofs Signed and dated in pencil «J Johns» 79» lower right Numbered in pencil by the artist from the edition of 100 lower left Printed by Kenjiro Nonaka, Hiroshi Kawanishi, Takeshi Shimada Published by Jasper Johns and Simca Print Artists, Inc., 1979

Color intaglio (spitbite, aquatint) on Magnan Pescia soft white paper 21 x 16 inches 11 3/4 x 8 inches (image size) Edition of 30 with 8 artist's proofs Signed and dated in pencil «Jasper Johns» 12» lower right, numbered lower left Printed by Doug Bennett and John Lund Published by LeRoy Neiman Center for Print Studies, Columbia University

A huge number of the exhibitions which collectively make up PST are invested in giving due attention to artists and movements which have been left out of the western art narrative.

Yet it has also welcomed a large number of emerging artists — especially throughout the new - media sections — to the international museum landscape, leaving seasoned art - lovers hoping that «China 8» could be a stepping stone toward new approaches in curating Chinese contemporary art in Germany.

ELLEN GALLAGHER, Detail of «Deluxe,» 2004 - 2005 (portfolio of 60 printed objects with aquatint, dry - point, photogravure, spit - bite, lithography, silkscreen, embossing, tattoo machine engraving, laser - cutting, collage, crystals, cut paper, enamel, glitter, gold leaf, gouache, graphite, oil, plasticine, polymer medium, pomade, toy eyeballs, watercolor and velvet on paper; Number 12 from an edition of 20 unique variations, plus five artist's proofs and four printer's proofs.).

HELEN FRANKENTHALER Tahiti (H. 168) mixograph in colors, 1989, on handmade paper, signed and dated in pencil, numbered 18/45 (there were also 11 artist's proofs), published by Mixografía Los Angeles, the full sheet, one short tear at the lower left sheet edge, otherwise apparently in very good condition, not examined out of the frame S. 32 x 54 in.

The Times gave a brief biography, listed some of the artists Pretto had exhibited, and noted that he left a number of works from his personal collection to the Wadsworth Atheneum in Hartford, Connecticut.

[56] A great number of artists laboured year after year in the hope of a hit there, often working in manners to which their talent was not really suited, a trope exemplified by the suicide in 1846 of Benjamin Haydon, a friend of Keats and Dickens and a better writer than painter, leaving his blood splashed over his unfinished King Alfred and the First British Jury.

Helen Frankenthaler (b. 1928) Sky Frame Orbit (Harrison 38) lithograph, etching and aquatint in colours, 1964 - 73, on pinkish - cream Arches paper, signed and dated in pencil, numbered 2/6 (there were also two artist's proofs aside from the edition), published by U.L.A.E, New York, with their blindstamp, with wide margins, the full sheet as published, a deckle edge to left and right, apparently in very good condition, not examined out of the frame L. 545 x 385 mm., S. 759 x 571 mm.