Sentences with phrase «paint a studio black»

Maybe a bit too risky to do it at our house, but i'd love to paint a studio black someday.

Not exact matches

They told me about their artistic backgrounds — Perez - Gallardo studied studio art at Bard, and Black studied painting at the Rhode Island School of Design.

And Louise Nevelson, the grand dame of found - object collages all painted over with black latex, scavenged and lived and had her studio here until 1963 when she was kicked out to make way for an East German looking building.

The titles of many of his paintings — Separate but Equal, The First Black, The Problem with Assumptions, The Difference Between Then and Now, Satchmo's Answer to Truman, When Aaron Tied Ruth — while they may make sly references to the formalism of his paintings, also explicitly or implicitly draw on black history and refer to personal heroes such as Malcolm X and Martin Luther King, Jr., whose likenesses and sayings adorn a section of Little's stBlack, The Problem with Assumptions, The Difference Between Then and Now, Satchmo's Answer to Truman, When Aaron Tied Ruth — while they may make sly references to the formalism of his paintings, also explicitly or implicitly draw on black history and refer to personal heroes such as Malcolm X and Martin Luther King, Jr., whose likenesses and sayings adorn a section of Little's stblack history and refer to personal heroes such as Malcolm X and Martin Luther King, Jr., whose likenesses and sayings adorn a section of Little's studio.

I'm 64 now, have painted seriously since I was 21... In my studio is a huge red, black, and white monstrosity, all over the place, but I felt good doing it, that something is cooking... I'm hooked on what I don't know and need to learn from Painting.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

John Loengard's iconic black - and - white photographs of Reinhardt working in his studio in 1966, a year before his death, only begin to approximate the moody atmospheres that Reinhardt's late paintings convey.

His most recent series of paintings from 2010, titled «Naturafutura», depict abstract swirls of black paint, inspired by his studio in coastal Brazil and the British Petrol oil spill crisis.

If the black - and - white photographs make the thought of all of those incandescent colour combinations, fresh out of the studio, feel all the more tantalising, then it has to be said that a white room full of paintings looks pretty much as you'd expect it to.

Four paintings here feature his trademark stripes, in blue or silver or red or black, spanning the unstretched canvas and bulging out from the wall; you can see the creases where he folded the canvas and the punctures where staples held it to his studio wall.

In the piece, the kitchen is empty; in the nursery, a monster fills the cradle and a giant black spider climbs over an open egg shape; and in the studio, the artist's husband, naked except for his cowboy boots, models for an abstract painting that's a miniature of «Silver Windows» (1967), a grid - based work from the hard - edge period (that's also included in the show).

The exhibition also includes the paintings Sand Morning (1973) and Arundel XI (1974), as well as a series of black and violet acrylic works on paper, two of which Truitt made in a rented room in Georgetown in 1962; an acrylic on paper made in her studio in Tokyo in 1966; two acrylics on paper completed on Tilden Street in 1968; several early drawings of streetscapes and buildings recalled from childhood; and a rare working drawing for the Gallery's sculpture Knight's Heritage.

Reinhardt had been a great admirer of Mondrian, who had emigrated to New York in 1939, and had established his studio as a de Stijl - type installation — a three dimensional environment based on the geometric paintings in which he used rectangles of red, yellow, and blue as hues, with white and black in opposition.

When Artspace visited Morris's immaculate Long Island City studio earlier this month, the artist — looking stylishly severe in a uniform - like black ensemble with a red belt that matched her lipstick — was getting ready for Basel while also working on paintings, researching her next film, and preparing for a solo exhibition that opens in October at the Museum Leuven in Belgium.

On Tuesday evening, the London gallery of Massimo de Carlo presented some 15 black - and - white paintings by Mr. Lowman derived from photographs of the elaborately patterned ceiling of his studio.

In his studio one day we were looking at a very black painting and Ad said: «It would not matter if the image were to completely disappear,» expressing a philosophy in tune with a statement in The Teaching of Buddha:

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

Washington first photographs black women in heroic and empowering poses in her studio then paints over the prints with bright colors reminiscent of 90s hip - hop culture, palettes evident in television shows like In Living Color, or Martin.

He also arranged for Noland and Louis to visit Helen Frankenthaler's New York studio in 1953, where they were introduced to her method of soaking turpentine - thinned oil pigment into unsized, unprimed canvas (a technique Frankenthaler herself had learned from Pollack's 1951 black - and - while stain paintings made with thinned black enamel paint).

Color in her paintings — from smudged whites and grays to earthen browns and blacks — seeps out from the floorboards and brick walls of the old carriage house that has been her studio for many years.

FULL STOP is a full - scale, highly detailed replica of an artist's studio made entirely of cardboard and black paint.

Kate Shepherd, Color Trope Black Lemon Yellow, Reds, Orange, 2011 Stenciled linen pulp paint on cotton base sheet 24 x 18 inches May 17 — June 25, 2011 Dieu Donné is pleased to present an exhibition featuring select works in handmade paper created in our wet studios by artists Ian Cooper, Arturo Herrera, Kate Shepherd, Jean Shin, Allyson Strafella, and Richard Tuttle.

At some time in the early 1970s, white paint was accidentally splashed on Untitled [glossy black painting](ca. 1951) by a housepainter working in Rauschenberg's Lafayette Street studio.

Upon returning to the United States in April 1953, he went back to work in his Fulton Street studio in New York, completing this canvas and several others in what is generally understood to be his second wave of Black paintings.3

It is not known if Untitled [glossy black painting] was produced as part of the first or second campaign.8 But the work's facture resembles that seen in paintings associated with the first group, such as the Whitney Museum of American Art's Untitled [glossy black four - panel painting](fig. 4), and it explores the ambiguities of «monochrome» in ways that seem more closely tied to the abstract expressionist project than to the later paintings» concern with the degradation of materials, an interest often linked to Rauschenberg's 1953 visit to Alberto Burri's (1915 — 1995) studio in Rome.9

Virginia Dwan, who offered him support at that time, remembers that he had a largely «underground» reputation.1 Dwan recalls first seeing Reinhardt's nine - foot black paintings at the Betty Parsons Gallery in New York and, later, visiting the artist in his studio.

Inspired by Cubism, Nevelson took scraps of wood and other materials found on the street near her studio and assembled them into free - standing and wall - mounted sculpture that she would paint a solid colour — most famously, black or white.

In the summer of 1985, Untitled [small black painting] was returned to Rauschenberg's studio for repair, and David White, the artist's curator, took the opportunity to document its history.

David Prentice, a friend of the artist who occasionally assisted in the studio, recalled that some of the Black paintings in Rauschenberg's collection were damaged by a careless housepainter who splashed white paint on the works at Rauschenberg's home or studio.

Following a number of shows in recent years, Khan is now «in the studio playing with a lot of different aspects of the work»: his first white on white paintings, which will be exhibited at Sean Kelly Gallery, New York, in late 2015, and calligraphic black paintings inspired by his longstanding admiration of Cy Twombly.

Black - and - white photograph of cast concrete sculptures with acrylic paint in artist studio, 8 1/2 x 11 in.

Artists will have access to a painting studio, sculpture studio, digital media studio, dance studio, music and recording studio, writers» studio, black box theatre and library.

LO: Your paintings are of black women from popular media or of models that you photograph in your studio.

Although Thomas has noted that not every painting has a collage, every image starts with a photograph, staged in a wood - paneled corner of her studio, and which directly informs and often serves as the basis of her elaborate, rhinestone - clad paintings that explore notions of black female beauty and identity.

The black paintings that left Reinhardt's studio in the final six years of his career maintained a fragile material and visual equilibrium, easily marred by routine handling that would leave traditionally painted canvas unharmed.

In 1959, when Frank Stella was working on his «black» paintings, he invited Andre to work in his studio.

Snowed in to his New York studio and working fervently day and night, he finished two paintings one of which was black and white.

Black and white photos shown here and not included in the listing are of the artist c. 1960s in his Manhattan studio; the cover of the Artforum Magazine from 1969; and pages from the catalog printed for American Painting Now Dec. 1967 - Jan 2968 sponsored by the Institute of Contemporary Art organized by Alan Solomon.

THE STUDIO MUSEUM in Harlem recently explored the intersection of food and art in an exhibition featuring, «Untitled (Dinners)» by Carris Adams, a text painting that transitions from bold black lettering to a muted pink and yellow palette spelling out «Chitterlings & Oxtails Dinners.»

Alongside his celebrated abstractions, early black - and - white paintings and the photorealist depictions of candles, skulls and clouds that have become indisputable icons of modern painting, Panorama includes nearly 30 new paintings made over the past ten years, extensive comparative works, studio photographs, archival images and a substantial interview with the artist conducted by Nicholas Serota.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

The landscapes are punctuated by geometric interruptions: squares of saturated color and black, jagged outlines that symbolize a break between the natural forms in the paintings and a studio or painting wall.

After graduating he set up a studio in New York in which he created much of his most acclaimed work - the «Transitional Paintings» and the «Black Paintings».

His much - proclaimed works — «Transitional Paintings» and «Black Paintings», were produced in Stella's New York art studio.

The artist Alex Katz in his studio space at his home with a painting by Francis Picabia titled «Tête de femme au foulard,» circa 1941 - 42, and a cutout from his own Black Dress Series.

In his Chicago studio, Kerry James Marshall shows us the seven customized shades of black he uses to paint his nuanced figures.

Included is the monumental twenty - metre wide painting Black and White, 2004 — 2005, based on the artist's studio, and Shoes, 1985, the only work from the 1980s in the exhibition, on loan from Tate and a touchstone painting for Milroy.

What has not been mentioned is that the «Saul - into - Paul conversion theory», published by Elaine de Kooning in Art News in 1958, was not set in Willem de Kooning's studio and did not mention a «Bell - Opticon», unlike her account of 1962.13 Additionally, while the 1958 account's introduction dramatised Kline's breakthrough to abstraction as a «transformation of consciousness», or a «revelation» of Biblical proportions, invoking the example of «Saul of Tarsus outside the walls of Damascus when he saw a «great light»», the description of Kline's technical and conceptual breakthrough in this account nevertheless resembled previous accounts of Kline's development in its gradualness, uneventfulness and thoughtfulness.14 The breakthrough that Elaine de Kooning first recounted was a product of sustained technical experimentation and logical thought on Kline's part, rather than accident or epiphany: «Still involved, in 1950, with elements of representation, he began to whip out small brushes of figures, trains, horses, landscapes, buildings, using only black paint.

Her new work begins with the raw energy of long haphazard black slashes of paint, reflections of gold leaf, foreboding faces with gnarled and jagged teeth smiling through chards of broken mirror... A three - month residency in Chashama's Harlem studio has set the artist on a cataclysmic outpour of large politically poignant pieces.

Inspired by Cubism, Nevelson took scraps of wood and other materials found on the street near her studio and assembled them into free - standing and wall - mounted sculpture that she would paint a solid color — most famously, black or white.