Sentences with phrase «paint the space between»

In this painting, I was painting the space between things — me and the painting.

I thought you painted the spaces between the shelves those different shades on purpose.

Not exact matches

Between architect and contract fees, carpeting, painting, lighting, construction labor, networking infrastructure furniture, office personnel, upgrades, maintenance and the dozens of other expenses required to get off the ground, the startup costs associated with traditional office space can amount to $ 50,000.

I chose to have my head cropped and my body divided by the space in between the paintings to keep the focus on them.

, a layered process, and allowed for «negative» space (the white between the diamonds), making for a sophisticated piece, rather than simply throwing paint onto the canvas and calling it «abstract» (which to me means, «I couldn't be bothered»).

We see black occupying a great space at creative designer-less Dior up to painting the models» lips with black; at Zuhair Murad black lace and velvet are in abundance; black is the main color at Givenchy fall 2016 runway show as well with some brown and taupe in between and with a smattering of red to bring vibrancy around, while at Alexander McQueen black oversized coats are embellished with fuchsia embroidery for pretty contrast.

You can barely tell the spaces in between aren't painted since the bare wood and the paint are similar colors.

The Space between Our Footsteps: Poems and Paintings from the Middle East.

Who amongst them realizes that between the Differential Calculus and the dynastic principle of politics in the age of Louis XIV, between the Classical city - state and the Euclidean geometry, between the space perspective of Western oil painting and the conquest of space by railroad, telephone and long range weapon, between contrapuntal music and credit economics, there are deep uniformities?

Around the outside — in the space between the wings — you can find some stands selling tourist favourites (T - shirts, Buddha statues, Angkor Wat paintings) and souvenirs as well as a good selection of stands selling fresh flowers.

Combining easy controls with tricky space - bending puzzles, Telepaint's format is simple: you're a paint bucket trying to reach a waiting brush, auto - walking between portals that you can link to teleport around levels.

Ambrose writes:»... each artist tries to thread the needle of contemporary painting: Berryhill working diligently on top of the threads, while Nesbit works from behind in the spaces between them.»

Made from the crushed bedrock of Barcelona, Berlin, Hong Kong, London, Milan, New York, and Paris, Wang's monochrome paintings represent a representation of urban geography, occupying a liminal space between Land and Conceptual art.

I am just trying to situate these paintings in that buzzing, in - between space where they are just paintings.

A pioneer of installation art since the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments, in which space expands and collapses, fluctuating between the two - and three - dimensional achieving lightness and explosive energy.

Mary Ramsden's paintings explore the space between virtual images and the object.

The completed series was 9» high and approximately 140» long leaving space between each painting.

Best known for her colossal sculptural projects, for over five decades Phyllida Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them.

Join us at this week's Lunch on Fridays talk to hear from visiting artist Kevin Appel, whose paintings explore the relationship between physical space, architecture and the painted image.

By 1960 the picture plane had implicitly come to belong to the past, but that would not be clear to either the artists who performed the closure or the critics who loved their work, nor had it become any clearer by 1972, when Greenberg described Stella's painting as poor sculpture rather than remembering Mondrian's remark about how paintings don't take place on the surface but in the space between and around itself and its viewer.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

Douglas Melini Working with the contrast between minimal palette and intensive patterning (a dialogue that allows the paintings to be simultaneously quiet and yet deeply activated), Douglas Melini makes hard - edge abstract paintings that investigate color and space.

Philip Taaffe's new paintings press your face up against a fence, and, like the first line of The Sound and the Fury, leave you looking «between curling flower spaces.»

Organized by the Center's Executive Director, Tom Eccles, and Graduate Program Director, Johanna Burton, Painting in Space, titled after Rosalind Krauss» famous quotation of Julio González in respect to Picasso's «drawing in space», includes painting, sculpture, and works that lie somewhere between these categoriPainting in Space, titled after Rosalind Krauss» famous quotation of Julio González in respect to Picasso's «drawing in space», includes painting, sculpture, and works that lie somewhere between these categorizatSpace, titled after Rosalind Krauss» famous quotation of Julio González in respect to Picasso's «drawing in space», includes painting, sculpture, and works that lie somewhere between these categorizatspace», includes painting, sculpture, and works that lie somewhere between these categoripainting, sculpture, and works that lie somewhere between these categorizations.

In more traditional gallery spaces, Martin has blurred the distinction between the art object and the viewer, placing paintings on floors, ceilings, and displayed among household objects.»

Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.

Her paintings are in some ways an attempt at making sense of herself as situated in a kind of in - between psychological space:» There's this type of spacial shift that has occurred, and there's a connection, a kind of psychological space, making sense of a place.»

The lightness of being in his work, the range of forms, contours, edges, saturations and coloring — and the lightness of the spaces in between his network of slashes, swatches, and other painterly exchanges, is so navigable for the eye that the paintings are airy, permeable, and most significantly, written in a language that is all his own.

The works in this exhibition explore the way that this subgenre of painting has evolved in the work of artists who may identify as painters, but who explore the space between painting and sculpture.

In each of the four spaces he made a four - stroke configuration of watercolor, which hovered between a tic - tac - toe game and a loosely painted square.

And the earliest work in the exhibition, Vija Celmins's 1964 painting Heater, sets the glowing red center of an electric space heater amid a field of deep grays — reminding us of the constant, ever - shifting dialogue between hot and cool, color and shadow.

With the ballpoint pen, Gatti blurs the lines between painting and drawing, while renegotiating relationships between space, line, form and void.

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam's sculptural approach was revolutionary in that it repositioned the viewer's relationship with the painting to include the object as well as the space around it, blurring the boundary between painting, sculpture, and architecture for the first time.

Aesthetically, the presentation includes Valledor's early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color - based abstractions from the 1970s and 80s that included illusory and optical constructs exploring space and creating a tension between the two - dimensional and three - dimensional worlds.

The work operates in the space between the subject and the object, between photography and painting, in a tradition now well - established by forerunners such as the frequently - referenced Gerhard Richter.

Can Jason Tomme, Scott Lyall, and «American ReConstruction» find a space between painting, prints, models, and abstraction?

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

The entire show consists of six different chapters, each showing different relation between the body and the space, from a large 8x2 meter charcoal studies depicting football hooligans fighting, four paintings of the skaters in a modern art museum breaking a series of paintings by Ellsworth Kelly, six black paintings representing the infinite space beyond the surface of the abstract paintings, a cast resin sculpture and a drawing of Colonel Kurtz from Apocalypse Now, all the way to the interactive app that allows viewers to interact with the works on view.

Known for paintings of women, Lisa Yuskavage's images occupy the space between high and low; the sacred and the profane.

1999 Contemporary Japanese Art I, 1950s - 1970s from the Collection, The 10th Anniversary of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Eyes Watching the Space, Enjoying Painting and Space, Niigata City Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions of the Times, Machida City Museum of Graphic Arts, Tokyo, Japan Against Educational Course of Contemporary Art, The 20th Anniversary of Museum Opening, Itabashi Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine Arts, Tokyo, Japan Out of Actions: Between Performance and the Object 1949 - 1979, The Museum of Contemporary Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum of Applied Arts, Vienna, Austria Museu d'Art Contemporani, Barcelona, Spain Museum of Contemporary Art Tokyo, Japan

Across the show, the first at Almine Rech's New York space, Calder mobiles and Picasso portraits, among other rare and never - before - seen paintings and sculptures, reveal visual and emotional resonances between the two famous artists, while reminding us why their work was so revolutionary in the process.

The framing and composition of Mackie's works in Painting the Weights are carefully controlled to create a dense but playful set of relations between the individual artworks and the gallery space itself.

Alternating sculpture — the medium in which he develops a broader spectrum, ranging from small three - dimensional creations to large - sized installations and hybrid objects — with photography, drawing, and mural painting, Irazu's work addresses the problems that occur in the relationships established between our bodies, objects, images, and spaces.

His watercolors, gouache, and oil paintings not only explore and expand the conventions of still - life painting, but also illuminate the relationship between pictorial space and depicted objects.

I feel the sensation of it, and pre-imagine it made of paint... but it's not just a question of looking, but of doing — in relation to this, in relation to that, in relation to the space between things.

medium to emphasize the slippage between painting, film, photography, pictorial space, and performative space.

Her painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor.

In 1960, inspired by Pollock as much as by Matisse, Hantaï hit upon his technique of pliage - painting on crumpled canvases that, when stretched, resolved into celestial abstractions that collapsed distinctions between positive and negative space.