Sentences with phrase «on canvas work showed»

MASTERPIECE Auction House's first auction of the year at Sheraton Towers on Sunday was a mostly quiet affair until Indonesian master Ahmad Sadali's 1965 mixed media on canvas work showed up on the block.

Not exact matches

Reason: Director Doremus showed what he can express about the power of a relationship with Like Crazy, which garnered emotional performances from his young leads working on a very intimate canvas.

Working with a mix of technical collaborators old and new, Villeneuve has once again delivered an impeccably well - crafted film, not least in Deakins» arresting widescreen lensing, which alternates between vast aerial canvases that capture the epic sprawl of the border land, and closeups so carefully framed and lit as to show particles of dust dancing on a shaft on sunlight.

The history of such directors making similar leaps is a mixed one: some have found great success and shown they can work on a big canvas, others have been sent back to the indie world with their tail between their legs.

Sunday 10.11.15 - > 5 - 8 pm — Seven Bar & Kitchen in the Funk Zone Santa Barbara — 20 + pieces, never before shown works in acrylic & spray paint on canvas, plexi and recycled materials (& there are 4 limited edition prints available as well).

The show features works by Charlene Broudy who finds inspiration in the vibrant colors of Costa Rica, new works by Carolyn Fox featuring luxuriously wide flowing lines suggesting rock, water, sand and sky, and Steven Gilbar, a self - taught artist who experiments with mixed media and collage on paper and canvas, drawing from this histories of both mediums.

In the current show, perhaps the most compelling of these interactions occurs between two works on canvas of the same size, Standard # 8 (Blue), 1994 and Portrait of a Standard (Blue), 2000.

The show presents recent works on canvas.

The show consists of three floors: new works in black acrylic on canvas from 2012 and 2013 on the first two floors and «historical» works from the 1950s and 1960s, when Soulages first gained fame in the USA, on the third floor.

For West Wall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making «the wall... a kind of ready - made mural,» thus changing «every show in that space thereafter.»

The show also includes works on canvas from the 1989 exhibition Trip - Tics in which Gurrola made his own versions of Philip Guston paintings.

This exhibition by Los Angeles - based artist Mathias Poledna (b. 1965), his third solo show at Galerie Buchholz and his first solo exhibition in Berlin presents his recent film work, «A Village by the Sea», and a new suite of works on canvas.

Williams works for the show were drawn on a computer and printed on canvas, then stretched, and often painted some more.

Hansa artists» works represented in the Grey show include Jane Wilson's Portrait of Jane Freilicher (1957), an oil on canvas merging abstraction with figuration, and Jean Follett's Many - Headed Creature (1958), a piece that recreates a fragmented body on a wood panel out of junk and found objects — a light switch, socket cooling coils, a window, a screen, nails, a faucet knob, mirror twine, cinders, a caster, springs, and rope.

It shows her working past the sheer density of the first generation, with a new technique of poured paint on unsized and unprimed canvas.

Continuing the Warholian reference, on show will be a series of large scale unique silkscreened portraits of the artist as Che Guevara, Joseph Beuys, Elvis Presley amongst others, as well as works based on Warhol's urine oxidation paintings, abstract works made by pissing on copper metallic painted canvas Turk takes a Gestalt approach to cliché and iconic imagery subverting our sense of what we think we are seeing.

The show presented a new body of work — formal studies of the female form, including large, expressive line paintings of the body rendered in blue paint on raw canvas — that marked a radical departure from Emin's vernacular up until that moment.

The show's oil - on - canvas paintings from the late 1940s and 1950s demonstrate the wide reach of the New York School — works by Jack Jefferson, Deborah Remington, Ward Jackson, Louis Ribak, Lilly Fenichel, and Bea Mandelman — reprised here by the recent mythic narratives (2013) of Eugene Newmann.

Busch, a Danish artist showing works for the first time in the U.S. with VSOP Projects, manipulates the top canvas by cutting and twisting narrow strips, exposing gradients of color on layers of canvas beneath.

Executed only a few months before his death, the work shows Warhol in the signature peroxide fright wig of his late career, staring starkly out from the canvas in an emotionally arresting vision that confronts the reality of time head on.

This is not, however, to say that there is no visible progression in Poliakoff's work, for the series of four canvases on the main wall, each titled Composition abstraite (1968) and each linked by a recurring claw - like shape, are undoubtedly the most accomplished of the show.

The presentation will feature a selection of rarely shown early paintings, iconic canvases from Albers's Homage to the Square and Variant / Adobe series, and works on paper.

The show brings together a new body of work executed in acrylic, charcoal and pencil - on - canvas, which present surreal and often discomforting scenes, accentuated by chaos.

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieces.

Continuing Christian Marclay's long - standing interest in the relationship between image and sound, this show is comprised of works on canvas and paper.

Tempted to relate to the tech crowd, the fair could not fail to show the following art world's most notorious utilizers of computer technology who also epitomize its effect on visual arts: Takashi Murakami, with a canvas entitled Enso: Wind (2015) at Blum and Poe's booth; Wade Guyton, whose Untitled (2017) was featured by Galerie Chantal Crousel; the German photographer Thomas Struth (Marian Goodman Gallery) with computer - enhanced photographs of NASA - produced space - bound equipment; and Christopher Wool, whose work occupies the entire Luhring Augustine booth.

Varejão's first solo U.S. museum exhibition is currently on view at ICA Boston featuring among other works, «Polvo Portraits» (shown above), an oil on canvas series referencing Brazil's 1976 census, in which citizens were given 136 options for describing their race in terms of color.

The show's more than fifty works included important canvases from private and public collections, but the most spectacular inclusions, in many ways, were the works on paper, ranging from intimate pencil studies with little or no color to pastel and crayon - enriched images, as complete as paintings; many of these had rarely — if ever — been exhibited before.

Galleries outside of the Bay Area also brought their funk to ArtMRKT, most notably Red Truck Gallery of New Orleans, who contributed a wall of works by Bryan Cunningham, and Sundaram Tagore Gallery of New York / Hong Kong / Singapore, which showed Kamin Lertchaiprasert's acrylic on canvas, «Birth - Death, Woman - Man, Right - Wrong, Husband - Wife, Good - Bad, Nothing.»

But it's all relative: Hauser & Wirth (which likes publishing a slew of results at fairs) reported the sale of a new mixed media work on canvas by LA - based artist Mark Bradford's for $ 2 million, as well as The Opaque (1947), an oil by Arshile Gorky, shown publicly for the first time since 1965.

The one oil on canvas work in the show, Abstraktes Bild 875 - 3 (2001), sings a muted song of representation, buried beneath layers of paint which seem chiselled away in order to reveal something urgent but ultimately lost beneath.

Tom Calnan will be showing a large - scale oil on canvas together with smaller mixed media 2 - D work and photomontages.

The show's centrepiece — a series of hanging, unstretched, painted canvases by the Guatemala - based artist Vivian Suter (Untitled, 2017)-- seems to cast a tawny glow onto the works on the walls around it, as if caught in a late - summer twilight.

Summing up the ambiguous position of Jane Frank's work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: «Her richly textured canvases evoke a world of crags and forests, rivers and plains, in terms which are entirely non-representational.»

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 critic Dore Ashton, reviewing his work at New York's Brata Gallery, which Mr. Kobayashi helped found in 1957, described his canvases and a work of sculpture on view in a 1958 show as «based in a wiry, expansionist imagery composed of tensile lines vibrating from central axes.»

His work which is mostly acrylic on canvas or wood panels has been shown at the AGH (Art Gallery of Hamilton), solo shows at the arts project in London, as well as galleries in Kingston and Toronto.

Similarly, the distinctive and highly acclaimed inkjet - printed paintings of Wade Guyton on the first floor — with a suite of his striking flame canvases shown in a wood - paneled den and another of his stark white paintings on display in a barren, decrepit room — are testimony to this brand of work's seductiveness and popularity.

is a group show of paintings, prints, relief objects and works on canvas

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

The display shows Gilliam's huge range, starting with a canvas of dye pigments from 1972 and ending with a vertical acrylic on birch work from 2010.

This group show, by nine artists, of paintings, prints, relief objects and works on canvas takes its title, Where Were You?

At Sadie Coles he showed work featuring the imprint of huge palm leaves on weathered canvases splattered with rain saturated with pigment, while at the Zabludowicz Collection there were boldly painted aluminium sculptures and a recent series of five video works using appropriated scenes from Tarkovsky films played against a segment of a Velvet Underground song.

Archer (1951), a work which shows the transition from the pictographs to the imaginary landscapes, keeps residual regulations of the formerly divisive lines, but these are now placed randomly on the canvas.

Comprised of twelve medium - format works on canvas, the show will be on view from July 22nd through August 15th, 2017.

The show will feature new work by the artist, including five 11 - foot - tall oil on canvas paintings and eight smaller - scale works.

Iraqi - American Ahmed Alsoudani, whose work was last seen in the MATRIX gallery in 2012, is represented by an acrylic - and - charcoal on canvas showing bodies torn apart by war.

Terry Haggerty, Side by Side 2, 2008 Acrylic on canvas on wood, 145 x 122 cm August 29 — October 4, 2008 YOU SAID HE SAID SHE SAID is a group show of New York based artists whose work to date spans various media and who have enjoyed exploring space, senses, sensitivity and scenarios.

Along with his watercolours, Roberts showed works on canvas, particularly self - portraits and images of his first wife Marian, who would be the subject of numerous nude and clothed figure paintings.

The three paintings that were on view during his show — Peekaboo, Prom Night (For Bigger Thomas), and Window Painting — combine collaged materials that the artist hand - stitched into the canvas, with printed images of his family he pulled, without permission, from Facebook, to form works that create tension between formal aspects of painting and the ways in which people live online.