Sentences with phrase «of oilstick»

«Just as James Baldwin reflected on how Americans have made «an abstraction of the Negro,»» the Sotheby's essay continues, «here the application of oilstick and gesso on panel combined with the dense overlaying of text create an overall abstraction in relief, its clarity strained in its riveting textural denseness.»

Not exact matches

Huma Bhabha, Chain of Missing Links, 2012, Wood, styrofoam, clay, wire, plexiglass, acrylic paint, weeds, seedpod, skull, rust, graphite and oilstick, 258 x 97 x 74 cm, 101 5/8 x 38 1/4 x 29 1/8 in

Gagosian Gallery, evidently jealous that one of the stars of its stable is showing with its arch-rival, is responding with a show in Beverly Hills of Serra's recent oilstick drawings, which were shown to magnificent effect in his 2010 Met survey.

Basquiat considered drawing a key means of expression in its own right and no less significant an art form than painting; his works on paper are notable for their remarkable range, incorporating oilstick, crayon, acrylic, pen, pencil and watercolour.

GLENN LIGON, Detail of «Untitled (I Was Somebody),» 1990, 2003 (oilstick, graphite and gesso on panel) Estimate $ 1 million — $ 1.5 million.

Jean - Michel Basquiat (1960 - 1988) has had many works on auction block recently and one of the best is Lot 43, «Glenn,» an acrylic, oilstick and xerox collage on canvas, 100 by 114 inches, executed in 1985.

Lot 33, «Stroll,» by Jean - Michel Basquiat, an acrylic and oilstick on canvas mounted on tied wood supports, has an estimate of $ 500,000 to $ 700,000.

All of the drawings are rendered in either oilstick on paper or oilstick and tape on paper.

Lot 1: GLENN LIGON, Detail of «Untitled (I Was Somebody),» 1990, 2003 (oilstick, graphite and gesso on panel) Estimate $ 1 million — $ 1.5 million.

The catalog essay describes the significance of the painting, an oilstick, graphite and gesso on panel work, standing 80 inches high and measuring 30 inches wide.

While the choice of black oilstick visualizes «blackness», Ligon's use of coal both obscures the text and imbues the work with a host of ambivalent undertones: «I am drawn to because of all of the contradictory readings it engenders.

Demonstrating Ligon's acclaimed strategy of pushing appropriated text into abstraction, Stranger Study # 11 is the result of the systematic overlaying of stenciled passages from Baldwin's essay with black oilstick until they coalesce into near illegibility.

At Gavin Brown's Enterprise, an established gallery in the West Village, Bradley is showing messy, large - scale abstract paintings made with oilstick instead of paint brushes.

But for his next show with Canada, Bradley delivered a group of sparse oilstick drawings on dirty unprimed canvases.