Sentences with phrase «painting white marks»

Although he started off as an exponent of representational art, while in England he developed his White Writing method of abstraction, painting white marks on tinted or darkened canvas and paper.

Not exact matches

Take white paint and lightly brush over measurement marks.

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.

Archaeologists believed that the images at White Shaman were essentially unrelated, each depicting an individual ritual, and at first glance, the mural did seem chaotic: Swarms of indecipherable markings surrounded figures painted one on top of the other.

Mark Tobey became famous for his so - called «white writing» paintings - a very subtle kind of American Abstract - Expressionism, and apparently meant in a spiritual way.

The second task is to do a black and white pen drawing of their painting, this develops mark - making skills and patterning.

The Grand Sports had blue metallic paint with a white stripe and red «hash marks» on the left - front fender with an LT4 engine under the hood.

The launch of the Derby Edition Ram 1500 marks the introduction of Ivory White Tri-Coat paint and the first time that a body - colored appearance package will be available on the all - new Ram 1500 Limited.

The paint above the wheels is now showing a scuffed white mark.

Loo's father marked a pine tree at two hundred yards with a small spot of white paint, then set the bucket down and walked back to his daughter and the guns.

Normally morale based decisions in games aren't my cup of tea because they tend to be very clearly painted in black and white, the «good» and «evil» answers handily marked out for you and usually exaggerated as well for good measure.

And I think when you look at my paintings with the white marks you see that, a complicity in what already existed.

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.

Barré created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.

Mark Borghi Fine Art is proud to present Michael West: The Black and White Paintings at its New York gallery.

Through Aug. 16, 2014 Mark Bradford at White Cube Hong Kong Known for his abstract, layered collage paintings, Los Angeles - based Mark Bradford is presenting «a series of new works about Hong Kong that explore structures of power and politics through the lens of urban planning, in the world's most densely populated city.»

This series of eleven white and gold paintings marks the artist's first collaboration with his twin, Korapat Arunanondchai.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

This is the perfect starting point for an appreciation of the works on view in the current exhibition, which rely on white in so many ways, from background to foreground, canceling the blacks and greys underneath and providing the Mark Tobey - like highlights of the large - scale paintings.

Only weeks earlier, I saw the white paintings of Richard Pousette - Dart in Washington, where the black paintings of Mark Rothko were also on view.

Featuring a series of etchings and lithographs produced at Mark Attwood's Artists» Press studio in White River as well as mixed media collage drawings and paintings all the size of vinyl record covers; Nhlengethwa's new works are stark, mostly monochromatic and affectingly vivid, echoing the emotion of Davis's melody.

And these big red paintings, marked in red (with one small white exception) with a kind of insignia or logo pushed at times to the edge of the field or centering it grandly, all on sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by fashion) and the lush severity and awe of Great Painting.

The norm at museums of modern art, as it is elsewhere at the Walker, is to give a painting — especially a painting by a towering artist like Chuck Close, Frank Stella, or Mark Rothko — a wide berth of white wall space.

Constantly evolving her method of application, Lonegan's current paintings are a marked shift from her previous series, The Mark on the Wall (2012) and the White Page Paintings (2011), which leaned toward dispersing gestures in blank, shallpaintings are a marked shift from her previous series, The Mark on the Wall (2012) and the White Page Paintings (2011), which leaned toward dispersing gestures in blank, shallPaintings (2011), which leaned toward dispersing gestures in blank, shallow space.

He liked the effect, and made it his own, combining the wiped marks with sprayed loops to create complex abstract fields that began to look, squinted at from a distance, like black and white reproductions of paintings by Franz Kline or de Kooning.

Shown, Detail «Untitled (Double Portrait of Artist with Frustula Sculpture),» n.d. (black and white photo with original paint marks).

Automatic writing was an important vehicle for action painters Franz Kline (in his black and white paintings), Jackson Pollock, Mark Tobey and Cy Twombly, who used gesture, surface, and line to create calligraphic, linear symbols and skeins that resemble language, and resonate as powerful manifestations from the collective unconscious.

Women artists have opposed scratchy clusters of paint and pencil marks to white space.

Initially made from personal photographs produced for the purpose of painting and then later using sourced imagery, Mark Roeder's ongoing collection of black and white Antipaintings mine the unique and complicated relationship between photography and subjectivity.

In contrast, Mark Tobey used black and white to evoke the lyrical brushwork of Japanese calligraphy, in the form of a serenely organic ink painting.

Historians have argued that the work stands as a precedent both for the artist's own performances in the 1960s and for the explosion of performative work in that decade.20 Paul Schimmel astutely places Automobile Tire Print on a trajectory of performative works based on the notion of capturing an indexical trace, reaching back to Pollock's drip paintings, moving up through Rauschenberg's blueprints, and on to Piero Manzoni's Lineas (1959 — 61), Paul McCarthy's video Face Painting — Floor, White Line (1972, fig. 5), and Ulay and Marina Abramovic's 1977 performance Relation in Movement, in which they drove a van in a circle for sixteen hours, leaving a circle of oil drips and tire marks on a public plaza in Paris.21

Each one has been painted with white latex paint, without any trace of brush or roller marks.

The Islands I - XII (1979), a group of seven white paintings, each marked with nearly invisible pencil lines (and that Martin considered a single piece), sadly was not included in the LA County exhibition, but was included in the original show at the Tate.

The picture is divided into nine sections — three distinct vertical panels marked by three horizontal bands of pictorial activity — and the image is almost quartered by the intersection of the red and white lines of paint mentioned above.

Ellsworth Kelly's (Birthday) Party Dress — To mark the great man's 90th birthday, coming up on May 31st, the art advisor Sharon Coplan Hurowitz convinced Kelly to work with Calvin Klein designer Francisco Costa to remake a lost 1952 dress that was based on the artist's painting Red Yellow Blue White — and it's now headed for the Met's Costume Institute.

The uniformity of the placement of the artist's signature and inscriptions across all five White Paintings suggests that Rauschenberg added these marks at the same time, perhaps as he was preparing to show the works at Larry Gagosian Gallery, New York, in 1986, or in the traveling retrospective organized by the Solomon R. Guggenheim Museum, New York (September 19, 1997 — March 7, 1999).

The interplay of much black and white media in the exhibit — the large wall drawing Head and Tales, 2007, which consists of dark marks made using spray paint and abalone shells cast from charcoal — arguably accentuate this.

There are artists in Abstract America who deserve to be there: Chris Martin's In Memory of James Brown «God - father of Soul» is a lovely picture, entirely absorbed in shape and form and bituminous shine; Mark Bradford's White Painting shows that there is life in Robert Ryman yet.

She appropriates the files» black and white type, officious markings and redactions by rendering pages in graphite, adorned with rhinestones and splashed with pink spray paint, to reframe her father's story.

erwin wurm leaves a physical mark on deformed domestic objects triple seat (fauteuil white), 2015 polyester, wood, acrylic paint 15 kgs 60 x 87 x 96 cm (23,62 x 34,25 x 37,8 in) ed.

Ellsworth Kelly White Form at Matthew Marks (C06) Placed next to contemporary artists like Gary Hume and Anne Truitt, this 2012 painted - aluminum piece demonstrates how 91 - year - old Ellsworth Kelly is still producing relevant works today.

The paintings include large, textured, stained, all - over canvas creations like Schwabacher's Antigone I, from 1958, a 51 x 82 1/4 inch canvas of blood red, ochre, black, blue, gray and white markings that is a figurative abstraction of the Greek myth.

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.

This image of the work turned on its side, made from an archival slide, documents the drips of white paint that marked the work's surface until Rauschenberg covered it with a fresh coat of black paint.

He is known for painting crowd scenes, with each figure marked out in white but later abstracted by dragging pools of coloured paint across the surface.

Finding his place in the Abstract Expressionism hall of fame alongside Jackson Pollock and Mark Rothko, Robert Motherwell is best known for his Elegy to the Spanish Republic series which he worked on throughout his life — over 140 paintings memorializing the injustices of the Spanish Civil War featuring bold black shapes on a white background.

The most notable was the $ 2.3 million (# 1.4 million) paid by US philanthropist Stewart Rahr, for a 4 x 5ft felt tip pen painting, Curtis (2007) by the American artist Mark Bradford, who is represented in London by the White Cube Gallery.

A photograph of John Coltrane in the exhibition acts as a stark reminder that even white American modernism was inspired by African American music — Jackson Pollock was inspired by jazz music to splatter paint for the first time, with each mark left on the canvas being representative of an uncontrollable and immediate force.

After all, what is this painting but a few black brush marks on white background?

Shimmering complex red, blue, gold and white contemporary abstract mixed media painting in resin and oil by Erin Parish, whose trademark paintings are marked by the repetition of cir...