Sentences with phrase «painting white square»

On the one hand, the white paper with its surrounding black line is inspired by Ellsworth Kelly's extremely reduced painting White Square as well as Felix Gonzalez - Torres» paper stacks.

To prepare for the legendary Targa Florio race in Sicily, he painted a white square with a «Quadrifoglio» - a four - leaf clover - on the front of his Alfa Romeo RL Targa Florio.

So to prepare for the legendary Targa Florio race in Sicily, he painted a white square with a «Quadrifoglio,» or four - leaf clover, on the front of his Alfa Romeo RL Targa Florio.

Agnes Martin, a small painting on canvas featuring a painted white square and a series of horizontal pencil lines, is a good example of this.

He was born in 1930 in Nashville, came to New York to study jazz, got a job as a guard at the Museum of Modern Art and, from 1955 or so on, set himself up as the guy who painted white squares — thousands by now, with more coming all the time from a master who turned 80 last Sunday.

Not exact matches

Aaron's most significant home runs have been marked where they came down — No. 500 by a white square on the Fan - A-Gram electric announcement board, No. 600 by the appropriate numerals painted in white high on the wall down the leftfield foul line and No. 700 by a seat painted red among its baby - blue fellows in the leftfield stands.

It's a square stone building with shutters painted red and white, matching the colors of the Swiss flag that's planted at every shelter in the mountains.

Framed by gray concrete, the west office's 66,000 - square - foot roof is painted a stark white.

As part of a project known as Cool Roofs, volunteers in New York City have been painting black roofs white and have so far covered more than 500,000 square meters of roof, though that's less than one percent of the possible area.

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WOLFGANG JOOP grew up a little this season - reining in the multicoloured dots to vaguely more sensible checks, but there was still plenty of colour: black and white vertical stripes were roughly painted onto cotton coats and tights and then daubed with yellow and green and red squares at random.

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Sources: Main Room Paint color — Benjamin Moore «Winds Breath», mixed at 75 % saturation Striped Rug - Dash and Albert Yacht Stripe (3 rugs sewn together to get the large square size) Lantern - Urban Electric Co, custom finish («seaside bronze» washed in a white to soften it up) Bedroom paint color — Benjamin Moore «Fanfare» Blue Quilt and Shams — Pottery Barn Sheets — Pottery Barn Seagrass Lamps — Arteriors Home

I also spray painted the wooden button gold and added four simple white paper squares using Martha Stewart's decoupage.

The two - tone paint (Cosmic White and Java Pearl in case you're wondering), elongated back windows and strong shoulders ensure it's handsome in a chunky, upright way, but details like the square grille and glass tailgate serve to emphasise the car's vertical height next to the Scirocco, where the styling cues (shallow back window, wafer - thin grille) move horizontally.

For good luck, the notoriously unlucky Sivocci (he was a regular runner - up) had decided to paint a green clover in a white square on his car — whereupon he immediately won the prestigious Targa Florio.

The front fascia looks impressive with the honeycomb grille painted in piano black between the new projector headlamps with square LEDs while the fog lamps are surrounded by grey and white finishes.

There were children running and playing along the highway in their bare feet; locals bicycling through the village; thin and sad - looking dogs roaming around and laying in the middle of the road; lots of garbage and litter scattered along the side of the road; abandoned buildings with jungle growth creeping inside them and graffiti on the exterior; open - air handicraft markets selling typical Mexican souvenirs and blankets in a variety of vibrant colours; empty bus stops covered in graffiti; small, open - air and simple restaurants with red Coca Cola signs on the exterior, and matching tables and chairs serving authentic cuisine; locals cooking and serving fresh meat on a barbeque along the road; a small park and square; narrow gravel roads stemming off of the highway to the remainder of the village; and tiny one - room houses with either thatched roofs and wooden panels on the sides or square white painted houses with a flat roof, barred windows and always a satellite dish on top.

This year marks the 101st anniversary of a turning point in the history of visual art, when Russian artist Kazimir Malevich created his momentous 1915 paintings of black squares on white backgrounds.

These pieces include a pair of paintings by Nak - Beom Kho, depicting closely cropped, chiseled male faces of mannequins, and black - and - white photographs of Nakamura's sculptural works such as Car Cover (1991), which show two forms that each resemble the shape of a car — one rounded and the other square - edged.

In an exhibition staged across White Cube's premises in both Mason's Yard and Hoxton Square, Hirst presented nineteen new works from the «Blue Paintings» series.

In 2013, Riley claimed that a wall - sized, black - and - white checkerboard work by Tobias Rehberger plagiarised her painting Movement of Squares and asked for it to be removed from display at the Berlin State Library's reading room.

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..

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitSquare on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitsquare form as a historic reference to capitalism.

The mural, made of acrylic paint and water - based crayon, is divided into three square areas of equal size, one red, one yellow and one blue, each enhanced with vertical and horizontal white lines and geometric shapes.

A large square of linen is dominated by white strokes like big curving thumbprints dragged through paint, with deep reds, purples, and yellows showing through in between.

Some of the later works by contrast look achingly simple: Accord (1985) is a clean, vertical rectangle of aluminium, bolted to the wall at its four corners, with one part of it, near the top, projecting towards you into a Malevich - like white, oil - painted square.

Strictly speaking, they are squares — eighteen - inch wood panels painted white.

His small paintings seem assembled from strips of colored tape on an off - white ground, in slightly off - kilter and incomplete squares and diamonds.

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

Celacanto Provoca Maremoto is a mural covering four walls, made up of 184 painted canvas panels — white - and - blue squares that recreate original tiles the artist photographed, depicting parts of angels, wings, and other decorative motifs, as well as the texture of cracked tiles.

It depicts a square of white fabric hanging in folds in front of a painting of a presumably nude goddess.

Eraser (prologue before luke) 2015 White oak, foam, pink interior paint, and brown paper Foam Dimensions: 27.5 x 29.75 x 10.75 inches (69.9 x 75.6 x 27.3 cm) Pedestal Dimensions: 49.25 x 27.75 x 27.75 inches (125.1 x 70.5 x 70.5 cm) Tape Square Dimensions: 27 5/8 x 27 inches (70.2 x 68.6 cm) ARG # POW2015 - 004

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.

Their rarefied atmosphere is circumscribed by rigorously defined and scrupulously observed parameters: Levine paints only with primary colors and white, each monochrome is contained by a razor - sharp border of raw canvas, all of the pictures are minimally off - square.

But it was Kazimir Malevich who today is often viewed as the forefather of geometric abstraction, beginning with his seminal 1915 paintings of black shapes — a circle, a square — on a white ground, and his legendary white - square - on - white - canvas 1919 monochrome.

Ryman reduces his paintings to the bare minimum: the square format and white color (he uses an extremely reduced vocabulary) but his work is varied because he changes the scale and the texture.

In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips.

His two large paintings, Yesterday, of colored moundlike shapes atop one another and receding in scale, and Carrying, ultramarine squares divided by a white grid accentuated with red squares (sound familiar?)

Yes, in the early»50s, he had indulged in some pretty extreme gestures: making paintings of perfectly uninflected white, whose only formal content is the square or rectangular shapes of the abutted panels on which they were painted, or making a print some 24 feet long by inking one of the tires on his friend John Cage's Model A Ford and having him drive across the paper.

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.

Malevich's painted volumes on white ground — circles, cruciforms, squares — ticked along and still do, setting off those tremendously interesting conversations among artists and art historians who stood and stand agog at the implications of his mute, ineffably powerful action of visual declamation.

In some of the paintings, the room looks like a bedroom (it was a converted attic); in others, like Peter's Sitters 2 (2009) or Peter's 3 (2007), it looks like a modern gallery space, with its low white ceiling and mirrored squares like canvases.

Precisely painted squares and rectangles in orange, rust red, green, mauve and white dance, overlap and swirl on a washed grey - mauve ground in this intimate 24 inches square acrylic...

His 1918 Suprematist Composition: White on White featured a white square set at an angle within a canvas painted a very slightly different shade of wWhite on White featured a white square set at an angle within a canvas painted a very slightly different shade of wWhite featured a white square set at an angle within a canvas painted a very slightly different shade of wwhite square set at an angle within a canvas painted a very slightly different shade of whitewhite.

When Bridget Riley first started to make abstract paintings — beginning in 1961 with her chequerboard composition Movement in Squares — she banished colour from her art, using only black and white.

The dealer's commitment to him was such that, when her gallery moved to a new Los Angeles location in 1963, she designed the space to accommodate his nine - foot verticals (she did not yet realized that his new works were limited to the five - foot - square format), and installed a narrow platform of white marble along the baseboard to keep visitors at a distance from the extremely fragile paintings, whose inscrutability seemed especially capable of provoking the public.

One piece that especially stood out — a large work made up of twenty white paper squares divided by a thin wooden frame on which much smaller squares and rectangles painted in oil had been arbitrarily placed — is a visual testimony to the love of music and poetry that informs the creative work of this painter.

In 1966 the Anonima Group's project Black / White and Gray 24» Square, with ten paintings by each artist, was exhibited in New York and at the Institute of Contemporary Arts, London and Galeria Foksal in Warsaw.