Sentences with phrase «oil on paper collage»

Lee Krasner, The Farthest Point, 1981, oil on paper collage on canvas, 56 3/4 x 37 1/4 inches144.1 x 94.6 cm © 2016 The Pollock Krasner Foundation / Artists Rights Society (ARS), New York.

Not exact matches

(detail) Anne Harris, Figuring Ground, 2014 — 15 (an ongoing project) oil, acrylic, collage on 300 lb arches cold press paper, 30 x 22 inches (photo: Philip A. Hartigan)

Detail of «She,» 1997 (acrylic, oil, polyester resin, paper collage, glitter, map pins, and elephant dung on linen).

Chris Ofili, «The Adoration of Captain Shit and the Legend of the Black Stars (Third Version),» 1998 (oil, acrylic, polyester resin, paper collage, glitter, map pins, and elephant dung on linen).

Divided in 6 separate rooms, the installation includes some 60 individual stoneware and porcelain pieces, as well as couple of rare editions on paper by Kusaka, and around 40 pieces by Wood, ranging from small collage showing his studio process, limited edition multiples, a series of floral pieces on paper, all the way to monumental oil and acrylic pieces on canvas.

«Thresh Hold (World Series),» 1992 (oil on paper with painted fabric and paper collage including Xerox reproduction).

Acrylic, bleach, enamel, latex, and paper collage on cut, draped, and sewn cloth and canvas; oil and spray paint on two leaning canvases; found objects.

Though Ward has traditionally worked on paper in a mixed media format of charcoal, oil pastels and graphite, this show will also introduce collaged works presented on canvas.

The paintings, works on paper, mixed - media collages, and photographs feature a number of purchases, including Audrey Flack's large oil and acrylic canvas, World War II (Vanitas); two elaborate mixed - media collages by Mickalene Thomas; textile artist Sonya Clark's Unraveling; photographs of performance artist Cassils» Becoming an Image; photographs related to Leah Modigliani's Morris Gallery exhibition The City in her Desolation; and works on paper by Fernando Orellana.

Image: Molly Zuckerman - Hartung, Adulterate, 2013, acrylic, bleach, enamel, latex, and paper collage on cut, draped, and sewn cloth and canvas; oil and spray paint on two leaning canvases; found objects, 95 x 167 x 12 inches (hanging)

Oil, acrylic, polyester resin, paper collage, glitter, map pins, and elephant dung on linen, 96 × 72 in (243.8 × 182.8 cm).

Molly Zuckerman - Hartung Untitled 2012 oil, acrylic, wood varnish, leather, string, feather, paper collage, paint collage, on birch wood panel 36 x 41 x 2 1/2 inches

Mary Beth Edelson, «Winter Saga: Viking with Time on Her Hands (Woman Rising series)», 1973, Oil, ink, china marker, paper collage, and glitter on silver gelatin print, 10 x 8 inches, 25.4 x 20.3 cm, MBE491

Charmion von Wiegand (1896 - 1983) Tang Tapestry: Collage # 182, 1956 collage of various papers, fabric and oil on cardboard 21» x 9 1/2» sheet size / 20 1/2» x 9 1/4» sight size signed anCollage # 182, 1956 collage of various papers, fabric and oil on cardboard 21» x 9 1/2» sheet size / 20 1/2» x 9 1/4» sight size signed ancollage of various papers, fabric and oil on cardboard 21» x 9 1/2» sheet size / 20 1/2» x 9 1/4» sight size signed and dated

These artists created works on paper with the use of many different mediums to achieve their unique creative goal including, graphite drawing, etching, oil paint, collage, crayon, lithography, and watercolor.

Molly Zuckerman - Hartung Adulterate 2013 acrylic, bleach, enamel, latex, and paper collage on cut, draped, and sewn cloth and canvas; oil and spray paint on two leaning canvases; found objects 95 x 167 x 12 inches (hanging)

Charmion von Wiegand (1896 - 1983) Hall of Golden Bells Collage # 107, 1954 collage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed anCollage # 107, 1954 collage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed ancollage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed and dated

Hall of Golden Bells Collage # 107, 1954 collage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed anCollage # 107, 1954 collage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed ancollage of various printed and cut papers with oil and gouache mounted on paperboard 9 1/4» x 12» sheet size / 8 1/8» x 10 1/4» sight size signed and dated

CHRIS OFILI, «Holy Virgin Mary,» 1996 (acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on linen).

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 16 from an edition of 20 unique variations).

Strauss Bourque - LaFrance, Duck Duck Juice, 2016, oil, acrylic, watercolor, wood stain, wood fill, wax stick, collaged paper and found images on shaped birch panel

Lee Krasner, The Farthest Point, 1981, oil and paper collage on canvas, 144.1 x 94.6 cm.

Boris Lurie, A Jew is dead, Collage: oil, paper, and tape on canvas, 180x312 cm, 1964; Boris Lurie Art Foundation, New York, USA

In Jennifer Long's most recent solo exhibition On the Edge at the Percolator Gallery, Paddington (23 Sept - 6 Oct 2014) she presented a series of hybrid mixed media works - collage and oil on ply, rice paper bowls, etchings, lithographs, woodcuts and solvent transfers, where graphic and painterly styles combined in a new and contemporary manneOn the Edge at the Percolator Gallery, Paddington (23 Sept - 6 Oct 2014) she presented a series of hybrid mixed media works - collage and oil on ply, rice paper bowls, etchings, lithographs, woodcuts and solvent transfers, where graphic and painterly styles combined in a new and contemporary manneon ply, rice paper bowls, etchings, lithographs, woodcuts and solvent transfers, where graphic and painterly styles combined in a new and contemporary manner.

Acrylic, oil, oilstick and paper collage on three hinged wooden panels, overall: 40 x 70in.

Employing both drawing and collage, Taylor creates the pieces by combining charcoal, graphite, cloth, oil, paper and wire into works full of minute complexity on a gigantic scale.

Amir H. Fallah, Holding The Unraveled Diary, acrylic, colored pencil, collage and oil on paper mounted to canvas, 48 x 36 inches, 2015

An oil and collage on telephone book paper, it measures 12 1/2 by 11 1/2 inches and was executed in1952.

Lee Krasner UNTITLED, 1984 Oil, charcoal and paper collage on canvas 46 x 58 inches Unsigned and undated KRAS - 0186 © 2013 Pollock - Krasner Foundation / Artists Rights Society (ARS), New York

Working in oil on canvas, ink on paper, and mixed - media collage, Krasner produced works characterized by a sensuous painterly style, her large - scales collages often formed from the artist's own cut - up paintings and drawings.

There were many surprising passes: Lot 87 was a thunderbolt design of fluorescent tubes by Dan Flavin that was one of his finest works in that it was an appropriate concept; Lots 122 and 130, large and excellent paintings by Sandro Chia (b. 1946); Lots 203 and 205, a good painting and a superb sculpture by Nancy Graves (1940 - 1995); Lot 223, a good gouache on paper by Sam Francis (1923 - 1994); Lot 242, a very good wood and paper collage by Louise Nevelson (1899 - 1988); Lots 279, 281A, 293, and 309, works by Andy Warhol, and Lot 299, «Fast Sketch Still Life With Abstract Painting,» a 60 by 90 inch oil on cut - out aluminum by Tom Wesselman (b. 1931), shown below.

«The (Private) Memorial Garden of Grandison Harris,» with Sumi ink on paper collaged to linen with oil stick, is part of Ms. Walker's new show at Sikkema Jenkins in Manhattan.

She offers this information as a kind of afterthought, along with a dry, technical description of her awesome, stomach - turning output («This is a show of works on paper and on linen, drawn and collaged using ink, blade, glue, and oil stick») in the concluding paragraph of her accompanying statement.

Part texture (collage, oil on canvas, pastel on paper) and part flat surface, her use of line with geometric shapes in the horizontally moving base juxtaposed against the lines evaporating upwards makes for an effective image, although again subtle.

The exhibition, comprising radiant oil - on - canvas portraits, the artist's well - known digital collages, charcoal - on - paper poems rendered in blocky sans - serif typefaces, and a child's playhouse intermittently erupting into ear - searing guitar solos, among other things, sent mental sparks flying in every direction.

«Aaron's Rod Turning Into A Snake,» Lot 234, by Anselm Kiefer, is a 25 by 33 inch oil, lacquer and photographic collage on paper, executed circa 1984 as part of the artist's Departure from Egypt series.

Josho, 1984 oil on paper on canvas with collage 47 1/2 x 36 5/8 inches, signed and dated © The Jay DeFeo Trust / Artists Rights Society (ARS), New York

The oil on canvas with paper collage on three panels measures 60 by 150 inches and was painted in 1974.

Oscar Murillo (b. 1986) Untitled signed and dated «Oscar Murillo» 12» (on the overlap) oilstick, oil, dirt and paper collage on canvas 73 x 62 in.

Acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on canvas, with two elephant dung supports

Dorothy Iannone The Sea Where Cleopatra Bathed, 1964 Painting - Oil, paper collage, black felt - tip pen on canvas 165.5 x 158.5 cm (65.16 x 62.4 in)

Jean - Michel Basquiat Untitled, 1981 Acrylic, oil stick, and paper collage on panel Unframed: 32 1/2 x 14 1/8 inches (82.55 x 35.89 cm); Framed: 48 x 28 x 5 inches (121.92 x 71.12 x 12.7 cm) © The Estate of Jean - Michel Basquiat / ADAGP, Paris / ARS, New York 2017; Private Collection, Florida Photo by Stefan Altenburger

Mixed media, collage, ink and oil on paper mounted on two canvases, 106 x 70 inches.

Acrylic, gouache, water - based oil and collage on paper.

Enrique Chagoya Misadventures of Liberating Savages, 2004 Acrylic, waterbased oil, pencil, collage, ink transfers on amate paper 8 x 116 inches ECd 43

For his first exhibition of paintings in a decade, the artist will feature two large - scale oil on panel works (each measures approximately eight by sixteen feet and seven by twelve feet respectively), six smaller paintings on panel and a number of collage works on paper.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Alfred Leslie Provincetown (P -60-60-DA), 1960 oil, collage on paper 10 x 11 inches ALd 15 11.

Fieroza Doorsen uses a wide range of materials: charcoal, ink, pastel, oil, acrylic, gouache, collage to name a few, producing works on paper, oil on canvases and wall based sculptures.

Alfred Leslie Untitled (PM -30-60-DA), 1960 oil, collage on paper 6 x 4 inches ALd 18 10.