Sentences with phrase «painter at work on»

Not exact matches

Eduardo Salcido — a 25 - year - old concrete finisher working at a 232 - home Toll Brothers subdivision going up in the Denver suburb of Broomfield — said that he received on - site training after entering the construction field as a painter.

Beginning 10 May 2017, Gallerie dell» Accademia di Venezia will present the work of the pre-eminent American painter Philip Guston (1913 — 1980) in a Caesare de Rossi was born at Brandisi, kingdom of Naples, on July 22nd.

Right from the beginning Sally Hawkins is given fantastic on - screen partners in Richard Jenkins and Octavia Spencer that jive well with her phenomenal performance built solely on hand gestures and body language (Jenkins makes a fine best friend working on his career as a painter, while Spencer's motormouth skills and sassy banter make conversations amusing and easily involving), but as she notices the creature being housed in isolation inside a large rectangular pool (referred to as The Asset) at the laboratory, things get complex and become transfixing.

Like most painters, the school leader is working on multiple canvases at once.

Even so, research on the classroom performance of such children suggests that, like Alex, the majority are required to work in the inclusion classroom, at levels several years below their tested ability (Hollingworth, 1926, 1942; Painter, 1976; Silverman, 1993; Gross, 1993).

Wayne Thiebaud is a Northern California native — he still lives in Sacramento at age 97 — but his work had wide - ranging influence on painters from the 1950s and on.

Our good friend and matte painter really terrific artist that created most of the concept art with environments on the Kickstarter page, he left PDI to work at LucasArts.»

Larry Groff interviews painter Derek Buckner whose work was recently on view at George Billis Gallery, New York.

He has been kind enough to share with Painters» Table his thoughts on painting and images of his work in advance of a retrospective exhibition, Celebrating Abstraction, which will be on view June 7 - 14, 2012 at the Appledore Festival.

Craig Drennen interviews painter Carl Ostendarp whose work is on view at Elizabeth Dee Gallery, New York, through February 25, 2017.

Julie L. Belcove interviews painter Cecily Brown whose work will be on view at Maccarone Gallery, New York through June 20, 2015.

«Generations of black abstract painters never seem to be celebrated,» says Valerie Cassel Oliver, senior curator at the Contemporary Arts Museum Houston, where she recently organized «Black in the Abstract,» a two - part exhibition that focused on the history of African American painters working in abstraction.

Opening: «Kerry James Marshall: Mastry» at Met Breuer This mid-career survey, one of the most hotly anticipated New York museum shows of the year, focuses on the work of Kerry James Marshall, the Chicagoan painter whose paintings and drawings, for the past 35 years, have focused on the position of black artists in art history.

Robin Scher interviews painter Thomas Nozkowski on the occasion of his exhibition of Works on Paper at Pace Gallery, New York, on view through March 26, 2016.

On the occasion of her exhibition at John Davis Gallery in Hudson, New York, Goodman graciously agreed to discuss her recent work with Painters» Table.

Tatiana Istomina profiles painter Henry Taylor whose work is included in the The 2017 Whitney Biennial at the Whitney Museum of American Art, New York, on view through June 11, 2017.

Jason Stopa interviews painter Keltie Ferris whose work is on view at Mitchell - Innes & Nash, New York, through October 17, 2015.

Rachel Reese interviews painter Lina Tharsing about her new series of work Making a New Forest, which will be on view at -LCB- Poem 88 -RCB- in Atlanta from September 7 to October 19, 2013.

«the domination of the object to be looked at, always saying that a certain line should go in this direction or that, a red had to be here and a blue there because that was the way it was on the model, began to be limiting...» (p. 75) Goodnough never accepted limits in his painting, embracing in his own work what he describes as the «feeling in the best work of American painters of the «wild» which has been the heritage of this country.»

Clarity Haynes interviews painter Joan Semmel on the occasion of the Semmel's exhibition of new work at Alexander Gray Associates, New York, on view through October 15, 2016.

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

A day after the opening of his recent exhibit Alex Katz: Fifteen Minutes at Pace Wildenstein (through June 13, 2009), which also coincides with Alex Katz: Reflections at the Museo delle Arti di Catanzaro, Calabria, Italy (through June 13, 2009) and Alex Katz: An American Way of Seeing at the Sara Hildén Art Museum in Tampere, Finland (through May 30, 2009), the painter came to pay a visit at the Marie Walsh Sharpe Foundation on April 25th, 2009 to talk about his life and work with Rail Publisher Phong Bui.

Reiterating his effusive rhetoric from 1958, Sylvester wrote of Bomberg on the occasion of an exhibition at the Herbert Art Gallery in Coventry in 1960: «I feel no other modern British painter is in the same class as Bomberg».23 This judgment, Sylvester later acknowledged, still referred exclusively to Bomberg's late work.

The Hamptons» own Lee Krasner demonstrates the expressive possibilities of the first medium in «The Umber Paintings, 1959 — 1962,» while «David Hockney: Works on Paper, 1961 — 2009» provides a close - up view of the world of the beloved British painter, who is currently the subject of a major exhibition at The Met.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

His latest works, inspired by the 17th century French painter Nicolas Poussin («I'm always in a dialogue with painting and its history,» he says), are on view at the Savannah College of Art Design Museum of Art, in Georgia, where W caught up with him.

D'Hollander's work is currently on view in the exhibition «Surface Work: Abstract Women Painters» taking place at Victoria Miro's two London gallerwork is currently on view in the exhibition «Surface Work: Abstract Women Painters» taking place at Victoria Miro's two London gallerWork: Abstract Women Painters» taking place at Victoria Miro's two London galleries.

Rail: At any rate, much has been written about your relationship to gestural realism, which includes painters such as Larry Rivers, Grace Hartigan, Fairfield Porter, Philip Pearlstein, and a few others, whose works focused on the relationship between image and process.

Tony Greene Movie (2014 — 16) similarly explores the blurry work - play balance of artistic labor via a visit to New York by Neff's boyfriend that coincides with the planning and execution of Neff's curatorial project focused on the painter Tony Greene at a Chicago gallery.

Works on Paper, 1961 — 2009» provides a close - up view of the world of the beloved British painter, who is currently the subject of a major exhibition at The Met.

Corral was invited to attend the 106th session of the Working Group on Enforced and Involuntary disappearances at the United Nations in Geneva, Switzerland; awarded a Joan Mitchell Foundation Emerging Artist Grant (2015); included in «Artists to Watch: 18 Exceptional New Talents» by Modern Painters; and attended the International Artist - in - Residence at Artpace, Künstlerhaus Bethanien Residency in Berlin, Germany.

More recently, multiple paintings and works on paper by Lewis, the late abstract painter whose first museum retrospective debuted last fall at the Pennsylvania Academy of the Fine Arts (and opens June 4 at the Amon Carter Museum of American Art in Fort Worth, Texas), have appeared regularly and covered the April catalog.

Materials that might otherwise be pulled from a painter's trashcan, including paint - scuffed masking tape, clippings from photo albums and incomplete works on paper, are positioned in bursts of action that may at first seem disorganized.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Currently the official story of avant - garde abstract painting and sculpture in America that is on view at the Whitney Museum, denies works of scores of artists that demonstrate that American painters and sculptors by the late sixties went beyond minimalism creating a new expressionism.

Guston briefly provides biographical information and spends the remainder of his time speaking of his experiences working on the Mural Project (PWAP) in Los Angeles; his move to New York working under Reginald Marsh as a non-relief artist; his multiple mural projects in New York (Penn Station Subway, Queensbridge Housing Project, WPA Mural for the World's Fair, etc.); his success in WPA Fine Arts competitions; his move to Woodstock, New York; his time spent teaching at the University of Iowa; his many influences (Renaissance, Modern and Abstract Painters); his personal / professional feelings about the WPA as well as his political feelings about it.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

The 82 - year - old painter, who has lived most of his life in northern France near the Belgian border, has pursued his distinctive if somewhat conservative painting style for at least three decades, working for months and sometimes years on canvases whose paint surfaces are so obsessively thick that their images — mostly nudes, heads and still lifes — are virtually obliterated.

Anna McNay: Can you tell me about the works from your Empty Spheres series — inspired by lunar eclipses — that are on show in your joint exhibition with the painter Pandora Mond at Lacey Contemporary?

I come from a background in painting, but I would hesitate to call myself strictly speaking a painter, at least in terms of framing what I've been working on over the past three years.

Don Voisine, Buzz, 2009 Oil on wood 17 × 17 inches «A week after the opening of his exhibit of a new group of paintings, which will be on view at McKenzie Fine Art Inc, located at 511 West 25th Street, till June 6, 2009, the painter Don Voisine visited the Rail's Headquarters to talk with Assistant Art Editor Ben La Rocco, and contributing writer Craig Olson about his life and work.

Friday February 21 Washington Drawing Center — 7 p.m. to 9 p.m. Painter Mark Bullen hosts an opening of his recent work at the Washington Drawing Center Brookland Annex on Friday.

Now, at age 73, that is rapidly changing — her dreamlike, unfussy portrayals of ships aglow on night seas, cave - painting - ready divers, and an existential Superman launching himself through monochrome skies have hit the moment with uncanny precision, seeming distinctly fresh and relevant amid the work of painters half a century younger.

Here's what did work: Glenn Kaino's glittering mass of arrows in flight at Honor Fraser's booth, a demure suite of gelatin silver prints showing Carrie Mae Weems dancing in a nearly transparent white nightgown, Galerie Brandstrup's laser - focus on young painters (including Michael Kvium and Christer Glein), and Chris Wiley's quirky photographs mimicking and framed with quotidian substances (never has Astro - Turf served a better purpose than a picture frame) as part of Nicelle Beauchene Gallery's entry into Armory Presents.

The roster is surely multigenerational; Claude Viallat, born in France in 1936 shows a 1970 work characteristic of his signature painters on fabric; the wall piece by Dena Yago, born in 1988 in the US, lends the exhibition its name «Human Applause,» also the title of a 1800 poem by Friedrich Hölderlin that «addresses a poet artist subjectivity and market valuation explicitly» written at the turn of the 20th Century.

Formally, his early work owed much to 20th - century expressionist painters like Jean Dubuffet; a 1960 exhibition of Pablo Picasso's work at the Tate Gallery also made a major impact on his stylistic development.

As part of Joan Mitchell Foundation's ongoing collaboration with Voices of Contemporary Art (VoCA), please join us on Thursday, October 12, when abstract painter and Yaqui Indian Mario Martinez will sit down with Steven O'Banion, Director of Conservation at Glenstone, to discuss his life, work, and personal philosophy.

May Ten works by Scott were included in Painters» Progress, an exhibition organised by John Rothenstein which opened at the Whitechapel Art Gallery on 11 May (closed 15 July).

Both painters, Lowe and MacConnel will work in concert on the environment which has been inspired by the European painting galleries at the Metropolitan Museum of Art in New York City mixed with a museum café.

Having turned 93 this past December, the iconic «painter of black» French artist Pierre Soulages would be highly deserving of a major retrospective; but his current show «21st - Century Soulages,» on view at the French Academy in the Villa Medici in Rome through June 16, is in fact devoted to recent work.