Sentences with phrase «paintstick on»

Above: Jean - Michel Basquiat, In Italian, 1983, acrylic and oil paintstick on canvas with wooden supports and five smaller canvases painted with ink marker.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches

Richard Serra, out - of - round X, 1999, paintstick on handmade Hiromi paper, 79 1/2 x 79 inches (courtesy of the artist)

Other standout lots were the very strong «Self Portait as a Heel - Part Two,» by Jean - Michel Basquiat (1960 - 1988), Lot 16, shown at the top of this article, an acyrilic and oil paintstick on canvas, 1982, that sold for $ 772,500, well above its high estimate of $ 600,000; two sculptures by Agnes Martin (b. 1912), Lots 17 and 18, which sold for $ 217,000 and $ 233,500, respectively, both considerably over their respective high estimates of $ 45,000 and $ 120,000; «Broadway and 64th Street,» a very good, large oil by Richard Estes (b. 1932), that sold above its $ 300,000 high estimate for $ 354,500; Lot 31, a large canvas from his Rorschach series by Andy Warhol (1928 - 1987) that more than doubled its high estimate and sold for $ 684,500; Lot 13, «Alkaline Phosphatase - Polyethelene Glycol,» by Damien Hirst (b. 1965), 1992, sold for $ 140,000 and had a high estimate of $ 80,000; and Lot 37, «a delightful large acrylic on vinyl tarpaulin by Keith Haring (1958 - 1990) that sold for $ 200,500 and had a high estimate of $ 150,000.

Richard Serra, Quadruple Rift, 2017, paintstick on handmade Japanese paper, 9 feet 2 inches × 26 feet 10 inches (2.79 × 8.17 m) © Richard Serra / DACS, London, 2018.

Richard Serra, out - of - round X, 1999 Paintstick on handmade Hiromi paper 79 1/2 x 79 inches Private Collection April 13 — August 28, 2011 Organized by the Menil Collection, the first retrospective of the drawings of American contemporary artist Richard Serra will be on view at The Metropolitan Museum of Art from April 13, 2011, through August 28, 2011.

Not exact matches

To make these drawings, Serra often pours melted paintstick onto the floor and then lays the paper on top of the pigment.

Dupont writes: «Serra's use of paintstick and insistence on drawing as black poses an interesting dichotomy with the metal plates of his sculpture... the surfaces [of his sculptures] are in fact incredibly painterly, with texture and color on a thin skin that is delightful in spite of what I am sure is Serra's desire to the contrary... The irony of the paintstick drawings is that the works with literal paint are less «painterly» than those mad of lead and steel plates.

The exhibition begins with his drawings from the early 1970s, when he drew primarily on paper with ink, charcoal, lithographic crayon, and black paintstick — a crayon comprised of a mixture of pigment, oil, and wax.

Acrylic, oil paintstick, and marker on canvas mounted on wood supports, two panels.

To make these drawings, Serra pours melted paintstick onto a table, puts a layer of wire mesh or screen on top, and then transfers the pigment on to a sheet of paper by pressing a hard marking tool onto the back of the paper.