Sentences with phrase «paintings in this show»

Back when he had been a young and ambitious artist, he ran into some potential trouble with the official artistic world by exhibiting a painting in a show at the Manege, a celebrated show that Khrushchev visited and denounced, red - faced and bellowing, calling the paintings amoral, anti-Soviet, and fit only for covering urinals.

Painted in show - quality Tuxedo Black with red hockey stripes.

Painted in show - quality black, 9» rear end, disc brakes all around, power windows and TCI 4 - link rear suspension.

Console, black standard interior, painted in show - quality Hugger Orange.

Other paintings in the show by Phelan, Bill Jensen, and Andrea Belag mine another lineage of dark painting, that of Goya and El Greco.

Above all there is No Other Home by Daniel Sturgis who selected the paintings in this show.»

Tuck writes that: «the paintings in this show alternate between the quiet and the chaotic: landscapes that are represented like in comics and topographical maps — on a soft colored ground lines are drawn with paint, the figures are much smaller than life size and feel like quotes from movies... [Richter] draws seamlessly from our common cultures of art, entertainment, violence, music, etc., and plants these things in his paintings.»

The five white, very large paintings in this show [at Brata gallery] are strong, advanced in concept and realized.

JK: Actually, the Turner painting in the show is making reference to Lucretia, to the fall of Ancient Rome, which occurs because of her suicide.

I also found that the first abstract expressionist show in Europe was in Rome, and Giorgio Morandi admired just one painting in that show, Jackson Pollock's Lavender mist.

Though clearly related to other paintings in the show, they have a different gravitas.

Grace Hartigan's Sweden, (1959) and Joan Mitchell «sHemlock, (1956), are unexceptional works and Lee Krasner is represented by the largest painting in the show, The Seasons, (1957).

Thanks to art historian Ake Fant and Kandinsky scholar Sixten Ringbom, Tuchman included 16 of af Klint's paintings in his show.

For the paintings in her show at Locks Gallery, the first show in Philadelphia since her retrospective show at the Institute of Contemporary Art, the focus is on Philadelphia subjects and stories.

One early untitled painting in the show, dated circa 1950s, strongly recalls de Kooning in its cadenced, whiplashing shapes.

While Biala does not participate in the exhibition, critic Hilton Kramer of The New York Times notes her obvious absence: ``... why, by the way, is Biala, a serious artist, not represented by some paintings in the show?»

The dimensions of her five large paintings in this show, with compositions range from spare and minimal to the sprawling and dense, are determined by the artist's height and reach, and each varied mark reflects the dynamism of her hand in motion.

Phil has been honored with the highest awards presented in several different museum shows, including Gold Medal in oil, Best in Show, Artist Choice Award, and the prestigious Goodman Award for best oil painting in the show.

The earliest painting in the show, a 1966 untitled work, belongs to Christensen's minimalist period, with vertically - piled rows of short golden strips on a puce - colored field.

Artist Matt Phillips will present 3 large scale paintings in the show, representing sound through the medium of painting.

Nearly all the paintings in this show of recent work by Geoff Hippenstiel, a Houston - based painter in his late 30s, feature a single massive shape occupying most of the available space.

It may mean something that almost all the abstract painting in the show is by women, from Ulrike Müller's small geometric enamel - on - steel pictures, as precious as antique cameos, to Nancy Brooks Brody's black - and - white grids radiant with half - hidden color.

«Untitled» (2016) is the most recent painting in the show and includes one of Mr. Johns's recurring images of a ruler.

Teri Kennedy's curatorial decision to include a limited number of large paintings in the show made this possible.

In point of fact, every painting in the show is of content deemed illegal in the PRC, with the source images taken from websites currently blocked in the PRC, made by workers in the PRC.

Like many of the paintings in the show, the edges create a portal - like frame around the central activity.

The motif (represented by two paintings in this show) is linked not only to Van Gogh, but also to an allegory of mortality.

The largest painting in the show (at nearly five feet in width and ostensibly endless in depth) is the delicate and infinitely absorbing Night Sky # 26, an artistic moonshot of unforgettable ambition.

TURNER»S MODERN AND ANCIENT PORTS: PASSAGES THROUGH TIME Joseph Mallord William Turner (1775 - 1851) is well - known for his storm - tossed seas, but he also painted ports during Britain's heyday as an imperial superpower, as evidenced by 35 paintings in this show.

In keeping with the namesake of Dansaekhwa, most of the paintings in the show indeed restrict itself to the use of one color.

Back in the»90s, Rudy Giuliani got quite angry that a certain painting in a show at the Brooklyn Museum was depicting the mother of Christ in elephant shit surrounded by cutout images from pornographic magazines.

The first and most prominent painting in the show, called The American, is a mock heroic image of a man in jacket and tie taking aim with a long rifle.

One of three paintings in the show (Atmospheric Drag on Satellite, 1965), for example, is dominated by a pair of life - size stenciled figures floating against a dappled gray and black background.

If you missed the Alan Gouk exhibition at Poussin Gallery, London in January / February, as I did, then these two videos at Abstract Critical of him talking about the paintings in the show are the next best thing.

Not seen this yet, but the image that interests me most is «Red Label», the earliest painting in the show (1958).

GM As one draws closer to your painting in this show it becomes very obvious that each work has gone through many very deliberate and specifically conscious changes both in terms of color and structure.

Representing five years of focus on portraying attire, each of nine paintings in her show at As Is is a cropped, enlarged close - up of a section of her clad body.

These paintings in the show are my first attempt at bringing them back.

In SHARAKU (date unknown), for instance, the length of the title and range of letters used have resulted in one of the more colorful paintings in the show, with multiple different shapes and hues dancing across the canvas.

Some of the other paintings in the show need to be simply enjoyed, breathed in almost, but not this one; it seems to require close attention or study.

«The paintings in this show, like the trickster, are symbolic of liminality itself.

I'm going to have one painting in the show and then there's also a collaborative piece that I did with my friend Pam Lins, who is a sculptor — it's a collaborative sort of painting - sculpture.

Four of the paintings in the show are encaustic on newspaper; Johns revives the ancient technique of wax - painting in a way that again calls attention to the surface, which is both veined and suave, almost like skin over membrane, rather than harsh and rough like the surfaces of the abstract expressionists (or for that matter, Rauschenberg's surfaces).

Pleasingly, large - scale sculptural works do not overshadow paintings in the show, as each piece provides a different angle on the self - acknowledged ambiguous theme.

The paintings in this show are made from both the front and the back.

My favorite painting in the show, Byzantium, was made in 1967 when Schapiro first arrived in California.

The earliest, and possibly the best painting in the show, Rauschenberg's extravagant, complex and highly - charged painting with collage elements of 1953 - 54.

Saint Skeptic, one of the two largest (48 x 60 inches) paintings in the show, contains forms that suggest tongues, buttocks, testicles and arterial networks, as well as an elongated «nose» near the top that may remind you of Poor Richard, Guston's 1971 book - length send - up of Richard Nixon.

There are six paintings in the show and five of them are at least 10 feet high or wide; they are post-easel paintings done in acrylic.

A good painting (and there are plenty of good paintings in this show) creates a kind of commons — a place where an artist can share subtle perceptions, extended across space and time.