For reproduction purposes nothing more than
a photostat in black and white of the original strip was required (composed of black ink on white paper).
Not exact matches
The importance of having proper paperwork to back up the listing was emphasized: «Barb (the Registrar at the time) stresses that dogs can not be included
in these listings unless
photostat copies of certifications are received by her.
We are first introduced to the symbolic monochrome used by the Spiral Group,
in which Romare Bearden drains the colour from his signature collage work and embraces the then new technology of the
photostat.
So, of course, would his familiarity with the
photostat machine, and the socially conscious Expressionism he'd imbibed from George Grosz at the Art Students League
in the 1930s.
A large
photostat projection adapted from a small collage, the work is featured
in «Project Gallery: Romare Bearden,» an exhibition of 21 black - and white - works the artist produced
in 1964, which is on view through June 26.
In 1953, he moved to New York City, where he studied at the Cartoonists and Illustrators and worked for Seventeen Magazine, making paste - ups, mechanicals and
Photostats.
They didn't agree on what their position should be, or even how it should be dealt with
in art, as two contrasting, rarely seen examples displayed here posit: Bearden's figurative
photostat collages and abstract paintings by Norman Lewis.
Geometrical rigor and the mechanical application of matter
in accordance with a minimalist structure of verticals and horizontals reveal, to the attentive eye,
photostats of his birth certificate, pages from the single address book he kept from the seventies to the nineties and most recently, photographs of his birth house
in Mississippi.
In addition to guerilla receptions on the street, this exhibition highlights the so - called «alternative spaces» where different versions and different printings of Holzer's posters also appeared in installations of window - bound, street - facing Photostats that were accompanied by sound installations: these included Franklin Furnace (1978), Fashion Moda (Bronx)(1979), and Printed Matter (1979
In addition to guerilla receptions on the street, this exhibition highlights the so - called «alternative spaces» where different versions and different printings of Holzer's posters also appeared
in installations of window - bound, street - facing Photostats that were accompanied by sound installations: these included Franklin Furnace (1978), Fashion Moda (Bronx)(1979), and Printed Matter (1979
in installations of window - bound, street - facing
Photostats that were accompanied by sound installations: these included Franklin Furnace (1978), Fashion Moda (Bronx)(1979), and Printed Matter (1979).
Photostat (a); Pen and colored inks, correction fluid, and graphite pencil on paper (b); Pen and colored inks and graphite pencil on paper (c), overall (framed): 22 × 53 7/8
in.
Intended as a publication maquette, the original pasteup (owned by the Metropolitan Museum of Art) is composed of eighteen 8 1/2 x 11 «sheets of paper collaged with xeroxed photos and texts, typed text on notebook pages, handwriting, and tape;
in the version exhibited here, these pages were reproduced as
photostats on nine 20 x 24» panels.
Project Gallery: Romare Bearden features a series of
photostat Projections produced by the artist
in 1964.
The exhibition features large black - and - white photographic images of collages, «
photostat projections,» produced by Romare Bearden
in 1964, including «Evening 9: 10 461 Lenox Avenue.»
The treat of the show, Untitled (Don't Buy Us with Apologies)(1986), is a deceptively quieter work
in a two - tone yellowish - white and black
Photostat image with red text to match the «artist frame.»
On February 21st, Cardi Gallery (organised
in collaboration with the Estate of Fred Sandback) presents a solo exhibition of 8 sculptures, drawings and
photostats by the American artist Fred Sandback,...
Distinguished Columbia University Professor Robert O'Meally will discuss the work of Romare Bearden and his series of
photostat projections which were produced
in 1964 and are currently on view at PAMM.
[3] Bearden's collage techniques changed over the years and
in later pieces, he would use blown - up
photostat photographic images, silk - screened, colored paper, and billboard pieces to create large collages on canvas and fiberboard.
During this time he studied at the School of Visual Arts while also pursuing his interest
in design at Seventeen magazine, where he did paste - ups, mechanicals, and
photostats.
[3] Building on the momentum from a successful exhibition of his
photostat pieces at the Cordier and Ekstrom Gallery
in 1964, Bearden was invited to do a solo exhibition at the Corcoran Gallery of Art
in Washington, D.C., which increased his public profile.
Photostat, 30 × 40 1/8
in.
Robert Smithson, The Fountain Monument — Bird's Eye View [illustrated above] Detail of Monuments of Passaic, 1967 Six photographs and a cut
Photostat map Total size: 16.55 x 133.39
in.
The main protagonist of Cornell's Juan Gris series is a bird — the great white - crested cockatoo — specifically, an image taken from a 19th - century print of the species that Cornell repeatedly used along with
Photostats or silhouettes of the bird's form to explore the fascinating shadows that Gris produced
in his own practice.