Sentences with phrase «painted wood form»

Planks of hand - painted wood form a richly weathered patchwork, and blend the warmth of folk art with the energy of an abstract painting.

Not exact matches

An impressive marble staircase is a stunning feature of the hotel interior, decorative mural paintings together with intricate wood carvings and panelling were all carefully restored and form an essential part of the hotel's character.

Discussion stick with a cool head 2014 vacuum - formed Plexiglas, cast polyester resin, bronze rod, marble, wood, wood putty, acqua resin, acrylic paint 18 1/2 x 12 1/2 x 24 inches

Ask the fact for the form (after mask) view 1 2011 extruded aluminum, wood, steel wire, Japanese paper, papier - mâché, wood putty, acqua resin, acrylic paint 9 x 13 x 18 inches

His sculptures and paintings — made of wood, metal, fiberglass, or cardboard; silk - screened or spray - painted; often neon - colored and sometimes wonderfully oversized — draw upon familiar forms to suggest another space - time.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

The paintings reflect Linnenbrink's trademark style of using the medium of acrylic and a myriad of pigments to form a full spectrum of colors on wood panels.

In «Behind the Green Door,» Alex Da Corte goes a step further, appropriating craft in the form of a beautiful store - bought Persian - style rug and pairing it with a handmade wood - and - paint lily near what appears to be a trapdoor to a hidden room.

Cordy Ryman, his son, pursues a ragtag spareness of his own — with painted wood that can form nested doors or nestle into a corner.

The scope of Michael Meads» work is large, and wandering from room to room in «Bent Not Broken» at the Ogden Museum of Southern Art, his range of mediums and forms is awe - inspiring: acrylic paintings, charcoal drawings, papier - mâché masks, screen - printed images overlaid on gessoed wood panels, vivid sculptural triptychs, a small bound book of collages.

Judd Foundation invites owners of Donald Judd paintings, objects, and wood - blocks to complete and submit the form below.

Reduced to simplified geometric forms and colors inspired by their namesake, these painted wood works created just before his death are a poignant testament to an inventive and dedicated artist who, despite little recognition from critics or the public, strove to perfect his art until the end.

His paintings on wood from the 1980s are marked by forms that recall living things; these biomorphic shapes would become central to his practice.

The 2012 winner of the Dallas Museum of Art's Arch and Anne Giles Kimbrough Award presents wall - mounted painted - wood sculptures with simple but deliberately off - kilter forms.

Focusing on line, color, form and structure, J.T. Kirkland combines wood and paint into uniquely warm and abstract paintings in the minimalist vein.

Sculptures such as Number 175T present a combination of the cut and tightly fitted wood pieces for which Drew is known with the sprawling lines of natural root forms, represented in flat areas painted in white.

But when he used bits of bone, wood or metal to create angular discontinuities and painted them to contradict rather than clarify the form, the wonderfully oddball results not only seem way before their time, but anticipate the «hand - held» sculptures of Franz West and the ad hoc assemblages of Phyllida Barlow.

Geist's painted wood and plaster sculptures often utilize the totemic structure we associate with Brancusi, but they reject purity in favor of a more playful form of expression and lively sense of color.

It is a large - scale painting with the trademark blend of abstraction, anthropomorphic forms, and wood - grain patterns Dunham orchestrated in lively paintings in the 1980s, the period when he emerged as one of the leading postmodern artists.

Braque also calls attention to the canvas by adding sand to the ground layers to form a stucco - like surface and combing through wet paint in areas of the table to replicate a wood grain effect.

Beginning as a block of wood carved by the artist with chainsaw, the classic female form personified within Venus III bears the artist's angled marks before the sculpture was cast into bronze and finished with patina and paint.

For years Matt Ritchie (who also uses the monicker Matt136) has created art in every creative form ranging from ball point pen drawings and acrylic paintings all the way to multi-layered functional, layered wood clocks, weapons and «storytelling» furniture.

Scottish Mansion Time, 2015, printed image, plywood, wood, metal sheeting, victorian painting, lampshade, industrial lamp, deck chair, boxes, hammock, netting, hook, velvet, check fabric, wooden technical parts, mirrored card, mini whiskey bottles various whiskeys, paper, wooden forms, Magic Latern, chair, wooden elephant, metal rod, wood dye, varnish, large table with steel legs, 240V light fixtures and bulbs, LED strip warm white, fixings, 243 x 275 x 275 cm, 95 5/8 x 108 1/4 x 108 1/4 ins

For the Jewish Museum's «Other Primary Structures» exhibition, she created a giant painted wood version of her 1967 sketch Displacement, an X form stretching from floor to ceiling.

In each of her installations, Washburn paints scavenged wood, cardboard, or newspaper in institutional pastels — greens, pinks, and blues — and subsequently cements it all together to form a sedimentation of layered detritus.

Camargo's painted wood reliefs draw a parallel with Espinosa's painting «Emina», where the repetition of a simple form creates hovering illusions of space and movement.

Through various applications and mediums, including wood, aluminum, acrylic, resin, and collage, these artists utilize their materials to create works composed of simplified forms that defy the easy categorization of painting or sculpture.

Kevin Finklea's painted geometric sculptures on wood are directed with the artists care to form and balance, further informed by the artists almost obsessive attention and devotion t...

The exhibition explores how Underwood drew on the influence of non-Western art from Africa and Mexico in the 1920s and»30s to create striking paintings, life drawings, wood engravings and sculptures that responded to the rhythm and form of the human figure.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

Through the use of common art making materials: paint, canvas, marble and wood, they are reinterpreted as devices to defend, deter or lessen destruction but also form a new autonomous work to be visited, viewed and contemplated.

The lines that define the wood forms blend impeccably with the lines of the paintings, as the two work together to create seamless and internally consistent planes and shapes.

The addition of paint, a smooth synthetic coating, onto these perfect forms makes them redolent of the Polish / Romanian artist André Cadere's Barre des bois rond (Round Wooden Bars)(1970 - 78), long wooden bars consisting of coloured pieces of wood that he would engage with in the public realm, the bars often accompanying him to private views — and the pub.

His 1989 gouache and ink painting Odd / Even looks like a study for some collapsing geometric form to be made of wood or steel, but stands alone as a spaceless, postminimal abstraction.

The artist Tom Eckert creates sculptures formed of a single piece of wood and then painted.

It was in his sculpture Pyramid (1959) where the figurative was erased by the method of stacking identical wood segments in a repetitive form, which like Frank Stella's «black» paintings appeared as if the process had been simply mechanical.

At 10 feet high and wide, this simple but imposing wall piece consists of the title form rendered with painted, polyester - coated wood strips.

Working with anything from sea worn plastic toys, clay pipes, wire, painted drift wood to cloth, carpet and leather, Nelson's sculptures have an improvised and makeshift attitude, forming part of a curious world of «possible objects» which defy critical context by reaching out through their physicality.

For others, the combination of seemingly divergent materials is their pursuit: Ali Della Bitta combines steel and clay; Maud Bryt builds with plaster and paint; Bruce Dorfman orchestrates a variety of materials in his colorful assemblages; Max Estenger remains true to a synthesis of raw canvas, polyvinyl and stainless steel; Norman Jabaut creates eccentric forms through his found wood combines; Naomi Safran - Hon and Letha Wilson are inspired by photography yet combine this medium with cement in an intense fashion.

In 1967, Krushenick made a number of large shaped paintings on wood panel, such as The Red Baron and Steeplechase, using cartoonish cloud outlines to disrupt brightly striped linear forms.

The remaining acquisitions were a prototype of a pine desk designed by minimalist artist Donald Judd in 1978 for $ 350,000; a 1969 painted plastic wall - sculpture by Craig Kauffman for $ 170,000; a Japanese Buddha head sculpted from cypress wood around AD 1000 - 1050 for $ 422,000; a set of three Spanish colonial «casta» (or mixed - race narrative) paintings from 1760 by Juan Patricio Morlete Ruiz for $ 598,000; a 16th - century checkerboard - patterned Peruvian textile for $ 250,000; and a circa 13th - century Mexican painted ceramic featuring serpent - human forms for $ 60,000.

Vivid colors and forms found in Yamamoto's paintings that were referred by Midori Matsui as uniting «decorative design and symbolic association by combining geometrical patterns with plant images» (Midori Matsui, «Winter Garden: The Exploration of the Micropop Imagination in Contemporary Japanese Art» Bijutsu Shuppan - Sha Co., Ltd, p. 78) have been liberated from the rules of using wood that is found in daily life.

In one gallery, flat black paintings of circular or triangular or rectangular forms are contained by incongruous wood edges that define deep shadows around the picture.

But, drawings are not the only works on view here; the exhibition also houses two small sculptural forms, one made of painted polyurethane and the others of aluminum, stainless steel, wood, and mirror.

In this assemblage of forms, Sara Barker combines numerous unexpected textures including a hand - painted landscape on steel, honeycombed resin, brass, wood and the lacquer finish used on traditional Japanese boxes.

SCAD Atlanta presents «Squash and Stretch,» an exhibition by Lauren Clay (B.F.A. painting), who employs a variety of paper art and decorative painting techniques including papier - mâché, faux wood grain and marbleized paper to create environments that display her interest in melding painting and sculptural forms.

New Directions in the Art of the Moving Image, Smithsonian Museum of American Art, Washington D.C., US Images of the Mind, Deutsches Hygiene - Museum, Dresden, DE The Art of Deceleration, Kunstmuseum Wolfsburg, DE Space Invaders, Nikolaj Kunsthal, Copenhagen, DK Jihlava Documentary Film Festival, Jihlava, CZ Celebrazione Vasariane, Firenze Arti Visive, Florence, IT Ensemble 20/21, Auditorio Nacional de Música, Madrid, ES MMK 1991 - 2011: 20 Years of the Contemporary, MMK, Frankfurt, DE Oslo Chamber Music Festival 2011 - Gamle Logen, Oslo, NO Pino Pascali: Return to Venice / Apulia Contemporary Art, Palazzo Bianchi Michiel, Venice, IT The Missing Peace: Artists Consider the Dalai Lama, San Antonio Museum of Art, Texas, US Portraits de la Pensée, Palais des Beaux - Arts de Lille, FR Paradise Lost, Istanbul Museum of Modern Art, TR The Quintet of the Unseen, Blain Southern London, UK art / tapes / 22 a Santa Teresa (1972 - 76), Forno San Ferdinando, Follonica, IT Tout ouïe, Sans Canal Fixe, Tours, FR 2011 Images and Views of Alternative Cinema, Theatro Ena, Nicosia, CY New contemporary galleries featuring the John Kaldor Family Collection, Art Gallery New South Wales, Sydney, AU The Promised Land, Staatliche Kunstsmmlungen Dresden, DE Don't Look Now, Kunstmuseum Bern, CH Figuratively Speaking: A Survey of the Human Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Art, IL

Working with a wide array of materials, everything from photos, string, sewing, paint, wood paper, time, mirrors, light and space, Oakland based artist Chris Duncan mines questions of optics, geometric abstraction, colour theory, and dynamic patterning, along with a variety of materials to ponder ideas such as perception and balance, in both conceptual and physical forms.

Like the Survey and Decal series, the Test Pattern series intend to refer to technological and social conditioning, or the abstraction of contemporary experience, and also the potential for transcending that conditioning by grasping it in the physical and perhaps less - determined form of paintings on wood panel.

In «Into the Groove» (2010), which was painted on a slightly off, rectangular piece of wood, with a small circular indentation punched into it and two strips of corrugated cardboard adhered to its surface, Clippinger echoes the scalloped edge of one cardboard strip by painting a similarly scalloped form in black along the painting's left edge.