Sentences with phrase «painting series appeared»

That same year, a key example of Goode's milk bottle painting series appeared on the cover of Artforum; another commences CAM's exhibition.

The auratic sceneries of this painting series appear under glowing veils of mist: Be it deserted landscapes, expansive skies, mountaintops or rocky coasts, gigantic towers or fragile electricity pylons as relics of human civilization... Steeped in a solemn atmosphere, «Europa nach dem Regen» seems to be heavy with meaning.

Not exact matches

Miketendo64: Interestingly enough, despite side games and remakes / ports appearing on Nintendo platforms, Atelier Lydie & Suelle: The Alchemists and the Mysterious Paintings actually marks the first true main series release of an Atelier Lydie & Suelle game to grace a Nintendo console, so what inspired you to make the leap now?

Skinner's appraisal experts regularly appear on the PBS - TV series, Antiques Roadshow, and its specialty departments include American Furniture & Decorative Arts, American & European Paintings & Prints, European Furniture & Decorative Arts, 20th Century Design, Fine Ceramics, Fine Jewelry, Couture, Fine Musical Instruments, Asian Works of Art, Fine Wines, Rare Books & Manuscripts, Science & Technology, Oriental Rugs & Carpets, American Indian & Ethnographic Art, Fine Judaica, Antique Motor Vehicles, Toys, Dolls & Collectibles, and Discovery.

Streisand appears in a string of tightly cropped, screen - printed profiles, and in a series of paintings, called «My Elvis,» which portray the diva multiplied on canvas in her cross-dressing Yentl garb.

In her latest series of paintings, which appear here, Essenhigh mines the beauty and stillness of cemeteries and the dynamics of trees.

The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem.

Laurent Grasso's own work, such as the series of what appear to be 16th century paintings and drawings, Studies Into the Past, uses the conceptual notion of shifting temporalities and multiple temporalities existing simultaneously to create a surreal suspension in time.

In addition to appearing in the special exhibitions listed above, Untitled [glossy black painting] was shown in SFMOMA's galleries in 1999, 2000, 2003, 2004, 2005, 2006, and 2016 as part of a series of rotating presentations of the permanent collection.

The exhibition includes a series of circular assemblages made out of materials such as paper, fabric, plastics, paint, and acrylic glass; the disc - shaped constructs appear scattered across the gallery floor.

In addition to appearing in the special exhibitions listed above, White Painting [three panel] was shown in SFMOMA's galleries in 1999, 2000, 2001, 2004, 2005, 2006, 2007, 2008, and 2016 as part of a series of rotating presentations of the permanent collection.

Combining the early «Slat» paintings, with exploration of form and field in his «Wedge» series, he created a body of work he entitled «Lattices» where lines appear to weave forward and back.

The painting is a sophisticatedorchestration of positive and negative space, with the depicted herd appearing as bright negatives, and the groups of trees, their trunks and foliage rendered as a series of scraffito - like marks (perhaps made with the end of a paint brush) to reveal lighter hues beneath the final, glowing earth tones.

A new series of paintings offers an interplay of black and white rectangles as they appear to swell and warp over a field of subdued grey.

The exquisite works in Hiroshi Senju's series «Cliffs,» 2012 — eleven mixed - media paintings, one triptych, all on mulberry paper mounted on board — appear to illustrate Lao - tzu's idea of Tao as a sort of universal flow or elemental flux informing all things.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

The panels may be repositioned to hang from a series of hooks on the work's surface or even mounted on surrounding walls within reach of the chains; both actions are encouraged by the artist in the inscription that appears on the reverse of the painting.

The rest of Hibid's display, however, is less convincing: a series of pages of the Guardian newspaper in which areas are painted out to reveal what she appears to see as unconscious racism, specifically — in the way images of black people are used — feels rather dated, if not in its racial paranoia, then certainly in the way Hibid has chosen to express it.

A recent group of the artist's Bat Opera paintings — produced last year during a residency in Monteverdi, Italy — appears in conjunction with a new volume published by Sadie Coles HQ and Koenig Books, extensively documenting this long - running series.

She began painting series of women who appeared at ease in their nudity, some coyly innocent and others brazen.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

Take the striped paintings in faded pastels of the Seventies, which look like chic, sun - bleached beach towels tacked to the wall, or The Islands, a spellbinding series of 12 rich - and - creamy «white» paintings from 1979... Often, with Martin's major works, there appears to be a hazy mist between their surfaces and us.

Her practice, often comprising small - scale paintings, conveys a dual preoccupation with the internet; her working process involves using found imagery, from online and print media, to create work that is then curated in series, to appear visually similar to a mood - board or Instagram feed.

In an article that will appear in the Fall 2005 issue of BOMB Magazine, Bartlett is interviewed by long - time friend and colleague, Elizabeth Murray, and she describes, for the first time in her own words, the derivation of her steel plate paintings and the conception of Rhapsody (1976), as well as her recent series of diptychs.

Other works in the series, some small enough to fit on a pedestal — others towering meters above the viewer, appear to be flaking with rust or glowing with hi - gloss black paint.

Viewing them here all at once diminishes the preciousness of any individual canvas — at worst, less refined paintings appear to be studies for the more resolved works in each series.

Lüpertz retired from the academy in 2010 and now paints full time, most recently on a series of canvases that will appear at Werner's gallery in New York, in a show that coincides with the museum surveys in Washington.

For the fourth exhibition in Blain Southern's Lodger series, the artist Gabriella Boyd has created a new series of paintings, in which dream logic appears to dominate, and the atmosphere is suffused with both eroticism and threat.

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

Another new series of sculptures titled «Carriers» (2017 — 18), cast from closed storefront shutters, are painted to appear weathered and tagged.

This two - person show will feature a series of paintings by the artists, who are also a couple, including a work that appears to feature the two artist's signatures on top of one another.

So, the mannequins from her Schauspieler series appear indistinguishable from those in department store windows, yet their beauty is disrupted by lines of spray paint on their bodies, tape wrapped around their mouths, and other interferences.

The artist's new series of erotically charged yet intimately tender paintings and works on paper evokes a world where animals seem to co-exist peacefully with humans, human relationships appear to be idyllic, and peace and serenity ostensibly reign within a Garden of Eden - like environment.

In Leslie Wayne's «Paint / Rag» series, the artist plays with perception and a linguistic idea that's embedded in the title (paint — slash — rag) by removing the layered paint off of one support and draping it over another, making it appear as if it were hung on a hook like a piece of fabric or an ordinary rag.

Several of her paintings focus on Kennedy Street, NW as is appears now and she plans another series in a year or two to see what has transpired.

My Light Series paintings from the 1980s, enormous canvases that appear to be rocks floating in space, found that light and energy on an artistic cosmic level.

Twenty years after appearing as one of the first of the National Gallery's Artist's Eye series of modern artists and their influences among the Gallery's pictures, this ever - evolving mistress of abstract form returns with a similar display of influences and new pictures, including two large works painted directly onto the Gallery's walls.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Text appeared in many of the paintings combined with a series of symbolic references, including dogs, lions, skulls, and skeletons.

«They appear to be paintings, but on closer examination, there are streaks and burn marks,» she says of the series.

Building material also appears in a series of paintings on Tyvek, a white synthetic fabric used on construction sites.

Dexter Dalwood's narrative paintings, the human subjects of which never appear, the Otolith Group's black box filled with old paintings and a series of televisions showing a 1989 Channel 4 series about the legacy of ancient Greece.

Even though Burri was never explicitly tied to any movement, to most viewers his abstract «unpainted paintings» should appear comfortable in his cultural moment, absorbing the monochromatic interests of Abstract Expressionists, while also setting the ground for Arte Povera and assemblage art.The co-curators work extensively to expand these associations through the exhibition's wall labels, which relate Burri to various artists, works, and moments far beyond the scope of midcentury abstraction, including Piero della Francesca's Madonna of Partition (1455 — 6)(for the subject of incised fabric), Joseph Beuys (as an artist formed by war), Italian Neorealist cinema (for its use of artifice and rupture to reappropriate the realism of Facist war propaganda), and even Rodin's Gates of Hell (1880 --- 1917)(for the «Combustione Plastica» series» hellish melting of form).

More identifiable imagery appears in the «Tree Paintings» series, inspired by the landscapes in Lebanon.

Reproduction of the same Chinese landscape painting appears throughout the series — repeated, cut, stacked.

In Right of Spring, a new painting located in the main gallery, these inscriptions snake and swirl around a series of ruptures in the painting's textual web from which vaporous plumes of vivid blue pigment unfurl so that the surface of the work appears to swell and then recede into infinite space.

Bright colour appeared in paintings such as his Protractor series (1967 — 71), and by the 1970s his work was becoming more and more sculptural.

Inspired by the black paintings of Ad Reinhardt and the date paintings of On Kawara, Scott created a series of «target» paintings consisting of black and white concentric circles that appear identical with only slight variations, intending to remove the aspect of qualitative judgment from the viewing experience.

For the fourth exhibition in Blain Southern's Lodger series, the artist Gabriella Boyd has created a new series of paintings, in which dream logic appears to dominate, and the atmosphere is suffus...

A new series of paintings by Tony Bevan RA develops this powerful idea of infinite information — repeated grids of bookshelves in acrylic and charcoal appear to expand into the distance beyond each canvas.