Sentences with phrase «paintings on our museum walls»

Unstill Life personalizes the modern art world and makes it feel immediate, not a painting on a museum wall.

But if we attend to the history of the paintings on our museum walls rather than to the labels that accompany them, the problem of the untitled work appears quite different.

Not exact matches

Unless they are deranged, don't people in a museum know they are looking at paintings on a wall, not real landscapes or real snakes?

«It's like going to a museum, looking at a painting on the wall and someone saying describing that painting.

It's like a good museum: on the walls of abandoned dwellings, multi-colored lichens spread thick as the impasto on a painting by the artist Jess.

The mural is painted on the east wall of the Facing History office at 115 Huling Avenue, where it is seen by hundreds of thousands of visitors to the National Civil Rights Museum and South Main District every year.

A museum collection of paintings and portraits hung on the walls.

Then it was on to the Vatican Museum and Sistine Chapel and a truly overwhelming display of works of art, mainly wall and ceiling paintings from the most famous artists of all times.

Vibrant paintings hang on museum walls and display textured masterpieces created by unforgettable artists remembe...

I have a history of constructing vivid but sometimes revealed to be false memories of favorite paintings by artists I love: a painting will be a lodestar in my mind, and I will remember not just it, but the wall of the museum or gallery that it hung on, and perhaps at the core of my memory is my memory of myself at the instant of seeing it.

Richter's illusory paintings find themselves on the walls of the world's most revered museums — for instance, London's Tate Modern displays the Cage (1)--(6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic «Rambert Event» hosted by Phillips Berkeley Square in 2016.

Cain will create a monumental painting directly on the walls and floor of the 4,000 square foot museum.

A 2005 group show at the Whitney, called «Remote Viewing,» took painting, drawing, and sculpture on the scale of a room — often directly on museum walls.

Now his city is making amends in a spectacular way, including his stunning 1969 painting April 4 on the walls of David Adjaye's new National Museum of African American History and Culture, where it's red - stained purple field captures the deeply bruised atmosphere following Martin Luther King, Jr.'s assassination.

Doing a contemporary painting show at the Museum of Modern Art is an interesting exercise nowadays, in second decade of the 2000s, because we are conferring value onto what we put on the wall.

At the New Museum, we see 17 new paintings installed on a deep maroon wall.

In his first L.A. museum exhibition, Simmons paints the titles of race films on five large walls as part of a site - specific installation in CAAM's grand entrance.

«It takes all these individuals to make a museum run,» Riepenhoff told me at his opening reception, but «so many times, we just see a little one - person byline on the wall next to a painting.»

For instance, when taking a photograph of a group of people in a museum, the photo may also show some paintings on the walls.

Langsam will feature a site - specific painting on the gallery walls based on the original blueprints of the Neuberger Museum, layered and transformed by abstract color fields, selected randomly by chance.

A really strong painting, it would be nice if the museum saw fit to put some more lights on it, though the lower light on the right hand side and the fact that the painting is right off the escalator, in the hallway, means one comes upon it, the way you discover something powerful in the subway or on a street wall.

At the Jewish Museum, oil paint on canvas positively leaps off the walls, as if to prove Greenberg's notion of the art object dead on.

«It looks like a painting that just sits on the wall,» says Jeffrey Grove, the curator of the show at the Dallas Museum of Art, where the traveling Borremans retrospective he put together arrives on March 15 (through July 5).

In 1970, Willis was included in the exhibition entitled «Lyrical Abstraction» [1] curated by Larry Aldrich, and the painting from this show, «Wall», 1969, acrylic on canvas, 96 inches by 114 inches, was originally exhibited at the Aldrich Museum of Contemporary Art, in Ridgefield, Connecticut.

The Metropolitan Museum of Art's new director, Max Hollein, heads the Fine Arts Museums in San Francisco and has a painting by Michael Langer, «Die Gelbrote Faust» («The Yellow - Red Fist»), from 1967, on the wall of his home.

The giant abstract painting, measuring some 25 by 15 metres and stretched on a museum wall, is, suggests its creator, but a tiny part of the skin of a monster.

Mel Bochner, American, born 1940, Language Is Not Transparent, 1970, chalk on paint and wall, Los Angeles County Museum of Art, Modern and Contemporary Art Council Fund

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

The mid-career survey, Laura Owens at the Whitney Museum of American Art (November 10, 2017 — February 4, 2018), presents around 70 paintings in different sizes — from wall - mounted works, to installations, to carefully arranged freestanding canvases painted on both sides.

Independent curator Charlotte Eyerman went through old catalogs for the annual juried shows to find paintings, prints and drawings, tracked them down and mounted them on the walls of the museum's mezzanine in the rotunda under a stained glass ceiling.

When on January 28, 2013, I made my first visit to Annette Lemieux's spacious studio in Allston, Massachusetts, I was delighted and excited to see a museum - quality array of over a dozen paintings, sculptures, and photographic prints arranged on the walls, floor, and propped up on a variety of chairs and stools.

The entire series of these paintings will be exhibited at NSU Art Museum, creating an almost continuous frieze on the second floor, starting on a long curved wall and ending high above the atrium.

Laura Owens's hare - brainy clock paintings that hang high on the wall at her outstanding retrospective at the Whitney Museum sound no tick - tocks as the hands spin at their own pace, keeping no time except their very own.

The exhibition is composed of three elements: a suite of six monotypes, two large paintings on canvas, and the third (and most exciting) is the wall drawing Mr. Row will produce at the museum April 17 - 20, 2001.

A levitating concoction composed of a white semitransparent polyester scrim, a black attenuated aluminum beam and a black line painted on the wall, it has the scale of a spectacle; it takes up the museum's entire fourth floor.

Trees, flowers, clay, fruit, ice, sugar, and chocolate have all appeared as regular protagonists in her work, including a carpet of 10,000 flowers left to wilt on a museum floor; a room whose walls the artist painted in chocolate and then invited viewers to lick its sweet but precarious surfaces; and a thirty - two - ton minimalist grid of ice cubes melting in a nineteenth - century water pumping station in east London.

2000 Bernard Jacobson Gallery, London Ameringer Howard Gallery, New York «Circles» 2001 Southern Vermont Art Center, Manchester, VT. «Noland's Nolands» 2001 Pace Prints, Kenneth Noland «New Editions» Bernard Jacobson Gallery, London 2002 Farnsworth Museum, Maine / Naples Museum of Art, Florida «Kenneth Noland: Themes and Variations» 2003 Chac - Mool Gallery, Los Angeles, CA Ameringer / Yohe Gallery, New York 2004 Museum of Fine Art, Houston, Houston Texas 2005 Fumagalli Gallery, Bergamo, Italy 2006 Ameringer / Yohe Gallery, New York «360 Degrees on the Wall» SELECTED GROUP EXHIBITIONS (incomplete) 1964 «Painting and Sculpture of a Decade, 1954 - 1964,» The Tate Gallery, London, April 22 - June 28 «XXXII Biennale,» Venice, June 20 - October 18 1965 «The Responsive Eye,» Museum of Modern Art, New York, February 23 - April 25.

Sirius, 2004, Steel and paint, 6.5» x 3» x 6.5» (on black wall) TM BU TU, 2002, Dedicated to John Carlos and Tommie Smith, Steel and paint, (each) 2» x 2» x 7.5» Photo courtesy of the Station Museum

I Killed Kenny is the first museum exhibition devoted to New York — based artist Joyce Pensato's work and features the monumental wall painting «Running Mickeys,» created on - site for CAM.

It makes sense that an art enthusiast would have a strong desire to have a famous, original, museum, master painting hanging on the wall in their own home.

Felipe Pantone Virtual reconciliation between two perspectives, 2016 Spray paint on wood panel and acrylic on museum wall.

Her New Museum exhibition brings together a selection of recent cutout paper figures, mixed - media works on paper, collaged paintings in beehive frames, a large - scale painted sailcloth, and hand - painted texts on the gallery walls.

Since the late 1990s she has been tracing stains, true - to - size, found on sidewalks, the floor of her childhood church, the New York Stock Exchange, the Indianapolis Motor Speedway, and elsewhere - creating slick enamel on metal paintings, colored pencil and mylar drawings, or site - specific paintings on museum and gallery walls.

Soaring midair on a mobile platform inside an unused Harlem church, she has been working and reworking two towering paintings taking shape on opposite walls, a monumental commission for the San Francisco Museum of Modern Art.

Sol LeWitt, Cubic - Modular Wall Structure, Black, 1966 Painted wood, 43 1/2 x 43 1/2 x 9 3/8 inches Collection of Museum of Modern Art, NY Sol Lewitt, Paragraphs on Conceptual Art (1967) «I will refer to the kind of art in which I am involved as conceptual art.

In the museum dedicated to his work on Naoshima, the small island in the Inland Sea of Japan known for its displays of contemporary art, there is a room containing four works painted directly onto the walls.

A visitor to the Jeff Koons retrospective at the Whitney Museum splashed red paint on the walls before adding his signature.

On the outside wall, a painted tile mural inspired by a historic Iznik panel from the Topkapi Museum presents central figures that resemble Art Nouveau water nymphs.

At some time in the»80s I gave a lecture about American painting between the world wars at a space the Whitney Museum had on Wall Street, where they put on shows and had people come and give talks at lunchtime.