Sentences with phrase «painting a striped gallery»

Not exact matches

This small strip of historic buildings now dispense «A Taste of Old Town» with half a dozen wine tasting rooms, largest cluster of the Verde Valley Wine Trail and Painted Barrel Trail, a diversified choice of the Valley's most popular restaurants & cafes with outdoor courtyards and sidewalk seating, «foodies» sampling shops, eclectric array of unique shops, antiques, books and galleries, historic lodging, and other accommodations of places to stay, plus an old haunted jail.

In the gallery, Lins will present a series of works all made using a distinct sculptural template: a vertical plywood pedestal with one striped side, a sunken corner with or without a plaster owl, and a painting on top.

At ABMB, Pace showed (and sold, at prices ranging from $ 75,000 to $ 1m) 16 signature black Louise Nevelsons; Mitchell - Innes & Nash gave a wall to Jessica Stockholder's 14 - element assemblage; Rosalyn Drexler's canvas collages of magazine strips took over Garth Greenan's Survey booth; a Kiki Smith white car - painted bronze anchored Timothy Taylor's space; Noga, the sole Israeli gallery (why?)

The exhibition starts dramatically in the lobby with Jim Lambie's striped floor, all sharp lines and acute angles, continues into the sixth - floor lobby where a Donald Judd painted aluminum sculpture dominates, and opens into the special exhibitions gallery, where you are greeted by a horizontal painting, installed up high, by Marcel Duchamp.

The revelation can be architectural - as in his 1973 work at the Galleria Toselli in Milan, where he had layers of paint stripped from the walls to expose the original plaster surface - or functional, as in his piece for the Claire Copley Gallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storageGallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storagegallery by removing the wall dividing the exhibition area from the office and storage space.

Invisible Man (after Ralph Ellison)(2015) by Tim Rollins and K.O.S., bears a vertical strip and three wedges painted in blue over the opening forty pages of Ellison's novel — marks that reveal the letters «I» and «M.» However, unlike Ellison's novel, the theme of this first gallery is not anonymity but the perception of the individual.

As he prepared the show, however, Marshall decided that «multiple fronts were needed to set forth a black aesthetic» and the exhibition then expanded into the museum's two main second floor galleries with paintings, sculpture, photographs, videos, installations, drawings and excerpts from the artist's cartoon series RYTHM MASTR, which originally began as a newspaper comic strip at the 1999 Carnegie International exhibition.

A few weeks later, the catalogue remarked, Warhol saw some «comic - strip» paintings by Roy Lictenstein at the Leo Castelli Gallery and «disappointed by this strange coincidence, and hoping to avoid further conflicts of interest, Warhol abandoned the comic strip altogether and sought out alternative subjects for his paintings.»

The striped paintings, made according to a strict principle, are as boring as the method itself and seeing so many at the Fruitmarket Gallery only makes one conscious of the difference between permutation and actual variety.

At Mark Moore Gallery, New York painter Cordy Ryman exploits it with masterful nonchalance, making tasteful abstractions out of such studio leftovers as paint stirrers, strips of Velcro and sliced up stretcher bars.

Three weeks after the closing of the 2014 Whitney Biennial, even as the museum has stripped its galleries of the exhibiton's videos, sculptures and paintings to make way for a Jeff Koons retrospective, the debate over one of its works lives on.

Each week, Rosenberg painted the walls and furniture in our first - floor gallery space in a color she encountered just days before, each new one overlapping the prior color to create a striped effect with «windows» repeating the colors along an adjacent wall.

Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil on canvas 83 x 99 inches SCamp 01 Carol Cole Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil on paper 30 1/2 x 25 inches JVd 52

Meanwhile, at Marc Foxx Gallery through June 20, Sam Windett layers paint over strips of newspaper to build a sense of actual time into each picture.

Mr. Castelli's next group of stars — Lichtenstein, Warhol, Claes Oldenburg and Mr. Rosenquist — attracted unheard of public interest, particularly when his gallery exhibited Lichtenstein's fanciful takeoffs on comic strips and Warhol's paintings of consumer icons like Campbell's soup cans and Coca - Cola bottles.

I'll be showing both recent and a few large paintings at Paste, an internet magazine located in an industrial building that formerly housed the Alcove Gallery, in the Avondale «strip».

There's a rare chance to see a selection of Buren's reliefs, paintings and sculpture from the past seven years in the Baltic's Level 3 gallery, which includes the striped, luminous fibre - optic works of his Electric Light series, 2011, as well as a number of astonishingly powerful, geometric, bas - relief wall pieces that bring to mind something of Donald Judd's work with the square and cube.

Waving visitors into the gallery are four works from Fred Wilson's series of painted flags from African diasporan nations that, stripped of all color, celebrate and ponder their symbolism and glory.

The most impressive example here, from 1960, is a painting less than half a metre high and almost 10 metres wide, actually a long strip cut off the bottom of a much larger painting that was to cover a whole gallery wall but proved too big.