Sentences with phrase «open form paintings»

We witness the tension between surface and depth and the tension of the modernist struggle familiar through the push - pull theories of painting and surface put forth by the influential teacher Hans Hoffman, the entanglement between line and space so apparent in Robert Motherwell's early open form paintings, and especially Lucio Fontana, whose Spatialism in the 1940s through the 1960s emphasized the puncturing of surface and the monochrome as a two dimensional membrane.

Not exact matches

Lars Mikkelson is in fine form, and there's a beautiful painting - like opening sequence.

The door has been painted with tromp l'oeil by the owner of the apartment and when opened forms, together with the decoration on the walls of the living room, a unique illusion.

One of the six huge paintings in the bedroom forms the headboard while another painting opens to reveal an exquisite marble bathroom.

Dipping into it in squid form allows you to hide from enemies, to move faster, to scale painted walls and to top up your ink reserves - and so victory comes about not just by spraying everywhere, but by spraying wisely, opening up new channels for yourself and your team - mates.

Opening: Joan Mitchell at Cheim & Read Joan Mitchell might be best known for her large - scale canvases, in which vivid blues and greens intermingle, creating abstract forms that resemble, among other things, vinery and Claude Monet paintings.

greg is especially inspired by the idea of having multiple windows open on a computer at once: through his process, he cuts out pieces and uses the computer to draw new forms, then assembles them into paintings that act like sculpture.

The forms in this painting, «State» are still closed, but it's more open than it was.

Painting from an intuitive and open mindset, Scully experiments with new combinations of colors and creating space and form while also challenging ideas about sight and perception.

Indeed, Liu, who will open a new solo exhibition on November 2 at the Lehmann Maupin gallery, in Manhattan, is known for working within a variety of mediums — painting, photography, video, sculpture, installation — and experimenting with all manner of materials, letting the concept dictate the form a piece will ultimately take.

I should mention that the Bonnard paintings that I saw at Paul Rosenberg Gallery around 56, 57 changed everything for me because basically, up to that point, all the painters I'd looked at — Picasso, and my teachers — all painted with black lines around the forms, whereas Bonnard opened it all up.

«Bushwick Open Studios really strives to give every working artist in Bushwick, regardless of their level of experience or success in the art world, an equal opportunity to show their work to a wider public,» said Hitchings, whose works include a series of pastel colored paintings in which forms and figures seem to bleed through the canvas like haunted photographs.

Aldrich pursues an open - ended exploration of painting and uses its fundamental elements — canvas, stretcher bars, paint — to interrogate and celebrate the intellectual and sensual conundrums of the art form.

The vast open space and in its «raw» form is a terrific venue for large - scale paintings such as Schapiro's, and is a gallery to watch in the future just as the Newtown Lane venue is on the list when gallery - goers are in East Hampton.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

There, at the center, is a hexagonal opening, forming a «core» around which the painting revolves.

WHAT: Pratt's Fine Arts Department will open all seven studio buildings that house its expansive graduate program to the public on Friday, April 15 from 5 to 10 p.m. Work in every form will be presented from painting, drawing, photography, printmaking, and sculpture to hybrids of the same, along with installation, video, and performance.

The significant factor is to recognize how the matter of painting, in each case, is addressed to the spectator — a point underlined in the work of Ron Martin, whose recent shift from an open and painterly form to a geometric colour structure is a syntactical, not a stylistic change.

The last decade or so of Roberts's paintings reveals more intense colour, more open pictorial space, less enclosed or silhouetted forms, and more intense handling of the materials.

Later, Schwitters would go on to make small plaster sculptures like 1945's Opening Blossom (pictured left), using paint to emphasise the form.

For Duston Spear, paint seems to gather from its own gravitational attraction, leaving a furious mix of free - form drawing, thicker clumps, and wide - open spaces.

The title of the exhibition and the eponymous painting implies physical or emotional descent, although the status of the concealed forms within the work are open to conjecture...

As a 1969 architecture graduate from Melli University (National University), Mousavi mounted his first painting exhibition in the late nineteen - sixties, and he expressed his opinions on art in forms of writing and open discussions mostly held at the avant - garde artist - run Ghandriz Gallery in Tehran.

«Donald Judd: Paintings» Institute of Contemporary Art Miami OPENS: April 5 The fourteen rarely seen works on view here, all created between 1959 and 1961, shed light on a crucial point in the artist's experimentation with form and color, effectively presaging the three - dimensional works for which he is best known.

When the painting is rotated ninety degrees, this form then assumes a more horizontal position and reads less like an opening, more frankly acknowledging its literal correspondence to a sheet of newspaper.

Within Provosty's acclaimed and most famous Doubleu series, she paired matte and oil paint into closed forms, opening the space with their reflective surfaces and tenuously squeezed outer edges, implying multiple, open - ended associations.

The paintings in the show, which opens tomorrow evening, all deal in some form or another with notions of the supernatural.

Opportunity Description: This opportunity is open to all Otis College alumni working in all disciplines, and submissions in every form of two dimensional media are encouraged — such as painting, photography, graphic design, printmaking, and drawing as well as non-traditional forms such as fashion designs, blueprints, commercial art, text, or cartography.

Talk: «Al Held Panel Discussion» at Cheim & Read Following last week's opening of the highly praised exhibition «Al Held: Black and White Paintings,» which showcases eight of the abstract painter's monumental canvases of interlocking forms from 1967 to 1969, the gallery is presenting an in - depth discussion of the artist and his work.

Though Stella, like Richard Serra, is not shy of scale, the overarching issue here is not the presence of focused materiality but the potential for material to form an open - ended Baroque extension, the consequence being that an illusionistic painting now exists in real space.

Pratt's Graduate Fine Arts Department will present over 100 works in painting, sculpture, photography, drawing, collage, printmaking, installation, video, new forms, digital arts, and performance to the public on Friday, December 3 from 5 to 9 p.m.. All seven of the graduate fine arts studios will be open to the public.

Abstracted womb - like forms open out beneath a relatively realistic moorland landscape — echoing both mining tunnels and the birth of Lanyon's first child — the brooding reds and blues given an incised, sculptural quality by the scraping away of wet paint with a razor, a technique learned from Nicholson.

While the eight square paintings share the same motif ---- a quatrefoil made of four circular forms pressed together, leaving an open space in the center ---- each painting's overall form, palette, and surface is distinct.

Within her well - known series that uses a curved shape — initially called Doubleu by the artist (the spelling of the letter)-- Provosty pairs matte and oil paint into closed forms, opening the space with their reflective surfaces and tenuously squeezed outer edges, implying multiple associations that imply numerous unfixed interpretations.

Schapiro's looser expressionist paintings crowded with brushwork at the start of her career began to include, along with images evoking the feminine, geometric forms and more open spaces in the 1960s.

Spanning the period between 1828 to 1945, the exhibition opens with the earliest form of American maritime painting — the grand academic - style portraits of graceful sailing ships — and includes waterscapes from the sea to the lakes and rivers of the American heartland, light - flooded impressionist visions of quaint New England seaside towns, and modernist renderings of industrial waterfronts and everyday life on the water

She covered expanses of canvas painted a monochrome of red, green, white or goldenrod yellow with open patterns of tiny, comma - like strokes — a form of craft, almost, but a very expressive one — often in marathon work sessions.

While her contemporaries staged the relations between painting and photography, Sillman chose instead to look at other mass media forms of image making, selecting the diagram as her lever to open the historical nature of painting to the present.

The controversy of Dana Schutz painting Open Casket, which depicts Emmett Till — the black teenager lynched half a century ago after a white woman said he had flirted with her — begs the question: can making art be «a form of concern», immune to cries of cultural appropriation?

These paintings become more physical through the use of transparent glass which allow the viewer to see how light, colour and form come together in an open space.

Castor Gallery's first official exhibition will open January 15th, with a two person show by Heath West, whose algorithmic paintings combine digitally - inspired patterns with abstract traditions; and Elizabeth Winnel, whose self - portraits take the form of sumptuous, juicy lips.

Another View from Nowhen comprises two ambitious works that respond to the historic location of the new Bloomberg SPACE: The Barely Perceptible Vibration of Everything, a vibrant, hand - tufted tapestry, and Blind to the Rays of the Returning Sun, a large, open - form painted steel sculpture.

At times the clay has been slit or punctured from the inside to form openings, suggesting — like Lucio Fontana's cut paintings and ceramics — mouths, buttholes, vaginas or wounds.

In the late 1940s, Motherwell embraced the tenets associated with the Abstract Expressionist movement: the canvas as an arena in which the artist engages spontaneously and passionately in the physical and mental action of painting; the composition, often monumental in size, charged with feeling; the abstract forms suggesting deep, open - ended meanings.

Eley uses this loss as a form of creation, creating abstracted paintings referenced from video conversations between himself and his subjects to capture an open, honest display of identity in lieu of posed portraiture.

Opening on 9 December at 5 pm, MEMORY METAMORPHOSIS explores the concept of diasporic memory through various art forms (e.g. painting, photography, performance).

Unlike the pair of Marsden Hartley canvases that greet you as the elevator doors open on the gloriously sunlit eighth floor, «Painting, Number 5» (1914 - 1915) and «Forms Abstracted» (1913), whose bright colors and crisp forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 Forms Abstracted» (1913), whose bright colors and crisp forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 forms feel like a clarion call for the Modern Age, the story of the seventh floor begins with a chapter called «The Circus,» after Alexander Calder's fanciful diorama of 1926 - 31.

The works featured in this exhibition each present creative and conceptual investigations of color, form, and design so as to open new perceptual relationships between drawing, painting, sculpture, and photography and their social environments.

Opening: «Pia Camil: A Pot for a Latch» at the New Museum Following her successful presentation of «inhabitable paintings» in the form of wearable clothing that was given to visitors to Frieze New York last spring, Mexican artist Pia Camil returns to the city for a museum solo show with new projects that invite viewer participation.

Opening: «Asger Jorn: The Open Hide» at Petzel Gallery One of the founding members of COBRA — a postwar avant - garde movement consisting of abstract artists from Copenhagen, Brussels and Amsterdam — Asger Jorn is famous for the spontaneous use of color and form in his experimental paintings, drawings and sculptures, made from the mid-1930s through the time of his death in 1973.