Discover the land through innovative new game mechanics such as splatting
paint on a white surface to uncover your surroundings.
The Arundel series of paintings, begun in 1973, [11] features barely visible graphite lines and accumulations of white
paint on white surfaces.
Not exact matches
If scientists can get a good handle
on exactly how the thermal effects play out, they could steer a threatening asteroid into a safe orbit just by
painting parts of its
surface black (to absorb heat) or
white (to reflect).
A vertical cylinder with spiraling red and
white stripes
painted on its
surface is made to spin
on its long axis.
Here's a breakdown of what we did» *
painted cabinets * got new knobs and pulls * changed out some drawers and made modifications to a few cabinets * added crown molding to the top of the cabinets * added lighting underneath the cabinets * replaced the counter tops with granite * tiled the backsplash * got all new appliances * purchased all new lighting fixtures * rebuilt the pantry * added a wall of cabinets including a desk area * leveled the bar countertop to make it one large
surface *
painted the interior of our home * replaced the old tile
on our fireplace with stacked stone * replaced our
white sink with a new stainless steel one
Step 1: Lay your necklace flat
on a
surface of your choice (I used a paper bag) and lightly spray your
white spray
paint until it's evenly coated.
If you prime first and then want to distress the edges to create an aged look, you will see the
white layer of primer show up
on your
painted surface.
Or you might spray
paint over the advertising so students have a
white surface to write and draw
on.
The concept rolls
on specially manufactured 20 inch light alloy wheels and was
painted in Diamond
White Magno with a matte clearcoat to protect the
surface.
Other improvements include new interior color options (black interior with
white paint for all trims) and the addition of a new touchscreen
surface that cuts down
on fingerprint smudges.
On coloured
surfaces, Cezanne made the light look cold by adding
white to whatever colour he was covering, so return to the palettes we used when
painting in the hot colours, and try adding 1/4 more
white.
She notes: «The black and
white paintings are purely about the
surface of momentary thought and the colour fields are about the depth and vault of emotion and memory layered
on top of each other.
Known for her vocabulary of schematic linear constructions evocative of fantastic structures, tight to loose linear coils, and flat, template - like shapes, Greenbaum has steadily moved from drawing in thin
paint on white grounds to layering the
surface with different structures and gestures.
So does the less than friendly stereotype
painted on a fountain's inner
surface, such as booze for a Native American and the threatening face, at least to
white eyes, of a black.
IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and
paint on canvas is rendered
white by scraping lines into the
surface with an ink-less pen.
1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard,
White Columns, New York (curated by Group Material) Recent Tendencies in Black and
White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of
Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago
Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries:
on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent
Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden
Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)
Around 1966, one year before Reinhardt died, I was in France doing square
paintings that were all the same, with the same pattern repeated — a black circle
on a
white surface.
Instead of diamonds and hearts there are soft and voluminous snow -
white peaches, peaking out from a wall of crisp green leaves, gently rendered to achieve a level of sameness
on the
surface of the
painting.
In particular,
on the west side of the building next to tall windows, visitors will have a penetrating light to reveal the brush strokes of Arshile Gorky's iconic The Artist and his Mother (seventh floor), to inspect the
surfaces of Jasper Johns's
White Target and Frank Stella's magisterial Die Fahne Hoch (side by side
on the sixth floor) and not far from the Hudson (turn around and look from the fifth floor window) a fluvial Cy Twombly grey blackboard
painting from 1968.
John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses
on the artist's dialogue with the
surface as a subject of the
paintings; and John Kelsey digs into the artist's media - savvy black - and -
white painted images: «Gestures go viral, escaping one
painting and contaminating another.
In that picture the boys are
white, and
painted on linen — a highly difficult
surface to control (ask any color field painter).
Ultimately, however, it was Cage's emphasis
on the action of light and shadow
on the
white surfaces of these
paintings that had the greatest impact
on shaping their interpretation by art historians.
These patterns were produced by placing the heads of spray
paint cans
on white canvases and allowing the
paint to spray onto the surrounding
surfaces.
Despite O'Doherty's debunking of this context, the
white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space
on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture
surfaces of post-minimalist
paintings, which look good filtered through the even light of a laptop screen.
This image of the work turned
on its side, made from an archival slide, documents the drips of
white paint that marked the work's
surface until Rauschenberg covered it with a fresh coat of black
paint.
The show also includes graphite works
on paper and
paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or
white surfaces.
He
painted mostly
on Masonite, using a palette knife to prime the
surface with layers of
white gesso, then applying each color minimally for maximum effect — one coat of pure color, straight from a tube.
He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and -
white oil
painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red
on the
painting's
surface.
The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's
white -
on -
white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by
painting, Gino Saccone's loose but formal play of material,
surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.
The
white splat
on the
surface of the
painting is at first comforting in being normative as a known
painting gesture and as an understandable metaphor tied to the title.
On the second floor of the Oso Apartments (Spanish for «bear»), gallerist Paul Soto has plastered and
painted every
surface of his small one - bedroom unit a brilliant
white.
Every
surface is redolent of some other
painted surface in the real world, from the uninflected
white of the gallery walls to old frescos, peeling doors and the chipped enamel
on playground railings.
Guston often worked
on a wet wall of
paint - a full -
on surface of fresh titanium or titanium and lead
white and started to draw.
Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and
white figurative
paintings, based
on photographic and cinematic sources; their impasto
surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the
painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.
In 1961, Eleanore Mikus, who had been working with
white paint and wax
on uneven
surfaces, raised nuance to a very high and rigorous level.
Mary Corse's large
white -
on -
white glass canvases have glass micro-beads embedded in the acrylic
paint to create a
surface that shifts dramatically with the light.
Since the 1950s, Ryman has used primarily
white paint on a square
surface — whether canvas, paper, metal, plastic, or wood — while harnessing the nuanced effects of light and shadow to animate his work.
«Nancy Lorenz: New Work» (closes
on Saturday) Operating in the gap between
painting and the decorative arts, Ms. Lorenz's latest efforts add to the history of modernist abstraction by way of seemingly gestural marks and lines fashioned from mother - of - pearl inlaid in
surfaces of silver,
white gold or palladium.
The gallery will also present graphite works
on paper, and
paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing the meander to the edge of the canvas, creating nearly monochrome black or
white surfaces.
A thick
white oil ground - probably of household
paint - was brushed
on to the smooth face of the hardboard to give a hard, textured
surface.
The
surfaces are predominantly
painted black; projected
on these dark backgrounds like fleshly X rays are translucent, ghostly -
white figures, their heads always cropped by the canvases» top edges.
Coupled with
white shapes that could seem either solid or transparent, laying flat
on the
surface or implying a geometric solid, Held used these ambiguities to reintroduce the idea of imaginary space back into
painting.
White Paintings, Black
Paintings, and Red
Paintings In 1951, Rauschenberg produced his monochromatic «
White Paintings» - referred to by some art critics as hypersensitive screens which registered the smallest adjustments in lighting and atmosphere
on their
surface, and by sceptics as blank canvases.
When we meet, dozens of instantly recognisable Hume
paintings — soon to go
on show at
White Cube's Mason's Yard and Hoxton Square galleries — cover every
surface.
Central to the exhibition is a group of gradient
paintings made exclusively with black and
white acrylic exterior house
paint that has been blended and forced through sheets of burlap laid face - down
on a variety of objects and
surfaces (from plastic tiles and garbage bags to silkscreened enlargements of Hagen's own high school drawings) that act as molds, effectively casting the
paint, or becoming embedded elements in the
surface of the works themselves.
Large - scale works like Dusk (2007) and The Dark (2007), which are
on view in this exhibition, are examples for this technique, while works like So Long Black, Silver and
White (2009) and So Long Black, Red, Yellow and Blue (2009) take this approach into her so - called Split
Surface Paintings which pay homage to Barnett Newman and have been a prominent feature among her works of the last decade.
Since the 1950s, Ryman has used primarily
white paint on a square
surface while harnessing the nuanced effects of light and shadow to animate his work.
SELECT EXHIBITIONS — SOLO (S) GROUP (G) 2015 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Ian Hughes
Paintings 532 Gallery Thomas Jaeckel New York, NY 2013 Ten Artists Adelson Galleries Boston, MA 2012 Untitled Art Fair, South Beach, 532 Gallery Thomas Jaeckel, New York (S) 2012 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2012 Ian Hughes
Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2012 Art Wynwood, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2011 Aqua Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2010 Inside Out, Ian Hughes
Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2010 Aqua, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2009 Paper in the Wind, curated by David Gibson, 532 Gallery Thomas Jaeckel, New York, NY (G) 2003 New Works
on Paper, Victoria Munroe Fine Art, Boston, MA 2002 25th Anniversary Exhibition, The Drawing Center, New York, NY Watercolor: In the Abstract, conceived by Melissa Meyers, curated by Pamela Auchincloss and Alex Muse 2002 Michael C Rockefeller Arts Center Gallery, SUNY College, Fredonia, NY (G) 2002 Butler Institute of America, Youngstown, OH (G) 2002 Ben Shahn Gallery, William Patterson University, Wayne, NJ (G) 2002 Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL (G) 2001 Hyde Collection Art Museum, Glens Falls, N.Y. (G) Nina Freudenheim Gallery, Buffalo, NY 1999 Surfing the
Surface, DFN Gallery, New York, NY 1998 Abstraction in Process, Artists Space, New York, NY; (G) curated by Irving Sandler and Claudia Gould 1991
White Room:
Paintings,
White Columns Gallery, New York, NY 1991,
White Columns Gallery, New York, NY 1990 Hall Walls, Albright Knox Museum, Buffalo, NY 1989 Climate «89, Condeso / Lawler Gallery, New York, NY 1988 Drawings, Massachusetts College of Art, Boston, MA 1985 Selections 31, The Drawing Center, New York, NY
Similarly, in Cricket
Painting (Paragrand)(2006 - 12) oil
paint is laid
on the canvas in acid hues of orange, green and blue, the
surface flecked in places with splashes of
paint, so that action of the image — a girl lobbing a cricket ball that hangs in the centre of the canvas like a
white, full moon towards a boy waiting at a wicket — becomes secondary; a compliment to the dynamism and energy of the colours» relationship.
Included are works by supreme outliers such as Richard Hamilton, whose indelible un-artwork forever defined The Beatles»
white album; Christian Marclay, whose non-sleeve allowed his Record Without a Cover to accumulate a lifetime of scratches; and Gerhard Richter, whose 1984 oil
painting on the
surface of Glenn Gould's revered Goldberg Variations leaves Bach's composition see - able but forever unplayable.