Sentences with phrase «paintings in the exhibition tell»

The paintings in this exhibition tell the story of Jones» life and the artistic elements that have engrained themselves in his psyche.»

Titles of certain paintings in the exhibition tell their own story: Serpentine (1982), Towards Crab Island (1983), Jetty (1983), Alluviumwold (1985) and Great Thames III (1989), (Great Thames IV is in the Arts Council Collection).

Not exact matches

For example, if you only use organic or sustainable materials, use recycled packaging, or your paintings have been included in exhibitions, magazines or blogs, tell people.

2015 National Contemporary Painting Exhibition, Weatherhead Gallery, University of St. Francis, Fort Wayne, Indiana --(Group) Ghost In The Machine, Phyllis Weston Gallery, Cincinnati, Ohio --(Solo) Shall I tell you the secret of the whole world?

He organized award - winning exhibitions and publications including solo presentations by Lynda Benglis, Judith Godwin, Jane Hammond, Joseph Marioni, Rashaad Newsome, Chuck Ramirez, and Sandy Skoglund, among other artists, as well as American Art Since 1945: In a New Light; New Image Sculpture; Andy Warhol: Fame and Misfortune; Beauty Reigns: A Baroque Sensibility in Recent Painting; Made in Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African American ArIn a New Light; New Image Sculpture; Andy Warhol: Fame and Misfortune; Beauty Reigns: A Baroque Sensibility in Recent Painting; Made in Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African American Arin Recent Painting; Made in Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African American Arin Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African American Art.

(Scott told Alan Bowness that, in 1946, he had seen an exhibition in Paris called A thousand years of still life painting; as there is no record of such an exhibition in Paris that year the exhibition he remembered must have been La Nature Morte de l'Antiquité à nos Jours, which opened at the Orangerie des Tuileries in April 1952).

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

Using sculpture, photography, painting, and installation, the artists in this exhibition each uniquely engage the genre by expanding our perception of what a landscape is, and how the story of the United States is told through this representation.

This transformation, along with Katz's telling eye for detail, is demonstrated by the paintings in this exhibition.

As Lüpertz tells Doig in an interview included in the exhibition catalogue, his paintings, nowadays are made to «look like paintings, paintings that have no story,... that create only an atmosphere».

As he painted, Guston told himself stories, and this exhibition of his work, at Timothy Taylor gallery in London, is filled with them, just as it is filled with cartoonish violence and morbid monsters.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

Dégas» dancers [1] have been of particular interest to the artist, which is demonstrated in a trio of paintings in the exhibition — Harp - Strum, Militant Pressures, and Tell The Air (2016)-- a sequence of vivid studies of female subjects mid-performance.

The Canadian paintings led to Doig's big break, he told Scottish art critic Angus Cook in an interview for the exhibition catalogue.

And here, in this exhibition, the twenty - six year old, Harlem based artist gives us 12 such paintings plus, each one telling a story that deeply mirrors his own life experiences, inside, out, and around.

The 53 paintings and prints in the exhibition tell the story of how Pollock, Ossorio and Dubuffet influenced each other through not only their close friendships, but also through the sharing of ideas, techniques and even studio spaces... All three grappled with abstraction versus figuration, and each had an interest in process and materials.»

Barnett Newman told me that he even urged he put a sign in an exhibition saying, «Move up close to the painting.»

Plein air painting never takes a holiday: Margaret Huddy tells us she has works in two shows in December: one at the Loudoun Sketch Club annual exhibition at Hillsborough Vineyards in Hillsborough, Virginia, and the other at a Washington Society of Landscape Painters exhibition at the American Painting Gallery in Washingtpainting never takes a holiday: Margaret Huddy tells us she has works in two shows in December: one at the Loudoun Sketch Club annual exhibition at Hillsborough Vineyards in Hillsborough, Virginia, and the other at a Washington Society of Landscape Painters exhibition at the American Painting Gallery in WashingtPainting Gallery in Washington, D.C.

By way of perspective, «Bathsheba» and its most recent price make a telling comparison with an exhibition of 14 new paintings by Lisa Yuskavage (an American born in 1962), an established «midcareer» contemporary artist with an auction high of $ 1.4 million, according to the salesroom - result database Artnet.

There's a story you once told me, that I think is useful to bring up here, which is a time when you painted the shadow of a beam onto one of your paintings in a past exhibition.

Zoffany's painting tells us that life drawing, and discussion about it, has been at the core of the RA's activities, a notion explored in depth in the Academy's new exhibition From Life.

[3] He also organised such shows as the first John Baldessari European Retrospective toured to the Serpentine Gallery, London and onwards onto a European tour; [3] a Bruce McLean film commission; [3] «Sublime: Manchester Music and Design»; Edward Allington; [3] Jochen Gerz; [3] Annette Messager: Telling Tales»; [3] Rita Donagh Retrospective; Paul Seawright: Sectarian Murders and «Unveiled: Possibilities in Abstract Painting» exhibitions.

With imagery steeped in blood, containing devils, skeletons, death and murder, his paintings tell the stories of those who have passed, those left behind after one's passing, the mourners, the lovers, the hurt and the relieved.He has a solo exhibition We Bleed Black Blood When We Die Dark Deaths opening on October 3rd at Portland's Breeze Block Gallery.

«Still's drawings were sometimes a preparatory step towards making a major painting but were also works executed after a related painting in which the artist continued to work out his ideas,» the museum's director and exhibition's co-curator Dean Sobel told Hyperallergic.

When I first went to Aggie Gund's home, where I saw your Rice House (which she later told me she acquired from your show in New York at Sperone Westwater in the»90s — she had previously acquired a Milkstone from the first exhibition in 1979 which she later donated to MoMA and will be shown at MoMA in the upcoming exhibit Studio Visit: Selected Gifts from Agnes Gund, April 29 — July 22, 2018), it must have been in the Fall of 2007, I immediately felt a particular sense of serenity in relation to the other works of art in her collection, including a Rothko painting.

e are told by Jennifer R. Gross, in the catalogue accompanying this focused exhibition of Jim Nutt's work (even with 70 paintings and drawings it is not a retrospective or a survey), that the artist «has expressed surprise that his unidentified women have been seen as male rather than as the clearly female subjects he intended.

Last month, «Circles: Early + Late» at Yares Art joined the two «Circle» periods together in an exhibition that told us «everything he discovered over a half century of painting,» as Karen Wilkin writes in her catalogue essay.3

The exhibition features 65 historic works by 53 artists, with a focus on paintings created between 1870 and 1965, telling many stories through this art that have never been told in person on the West Coast before.

(Rio de Janeiro, Brazil) The exhibition title is extracted from the support used by the artist, cotton canvas, and the paintings are exposed without frames, attached directly to the wall, «in a simple assembly», tells the artist.

The narrative «told» visually — each painting a variation on a single shared palette — is also «painted» in words with a narrative titled «One Sun So Hot» (2014), a series of six passages that surface at regular intervals throughout the exhibition.

The 53 paintings and prints in the exhibition tell the story of how Pollock, Ossorio and Dubuffet influenced each other through not only their close friendships, but also through the sharing of ideas, techniques and even studio spaces.

Ron: Tell me about your painting in the Inventing Downtown exhibition, Frabjous Day?

Tate Modern mercifully restrains from introducing Martin's paintings as «products of personal and spiritual struggle» caused by her schizophrenia until Room 5 of its current major retrospective, but nevertheless the exhibition at times develops into a distracting mashup of what we are told of the artist's biography and what we can see for ourselves in her work, providing comfort and explanation in personal anecdote, and portraying Martin's work as a logical story of cause and effect.

With your help I want to make an interactive eBook which tells the story of his life as a painter, from his first serious paintings as a student at Camberwell Art School in the early 1960's, where he was taught by Frank Auerbach and Euan Uglow, up to the work in his most recent exhibition at the Cadogan Contemporary gallery in London in 2013.