Sentences with phrase «possibilities of white paint»

He spent most of his career exploring the possibilities of white paint accompanied by blue and brown tones.

Not exact matches

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

They wend their way into Walinska's black and white paintings, and it is tempting to conjecture about the possibility of her deliberately quoting the giant with whom she took coffee one day in the»20s.

Through his street roots in graffiti, Basquiat helped to establish new possibilities for figurative and expressionistic painting, breaking the white male stranglehold of Conceptual and Minimal art, and foreshadowing, among other tendencies, Germany's Junge Wilde movement.

For the current show, in paintings of varying sizes, he presents dazzling possibilities for black and white.

For de vries (who spells his name without capitals in order to avoid hierarchy), the white paintings on a white background signify an object that has been stripped of properties, and loaded with possibilities.

White space is clearly as important to Holyhead as the application of colour, the tension between the two is an intrinsic aspect of his compositions, with crisp, stencil - like geometric shapes cutting into flat translucent areas of wash, heightening both gestural process and media and making artistic intentions — an investigation into the enduring possibilities of painting — subtly present.

[She once] remarked: «I had to work through the black - and - white paintings before I could even begin to think about possibilities of color.»

Spanning the media of painting, printmaking, mixed media, and drawing, White Hawk continues to expose pre-existing intersections and mold new possibilities between the histories of abstract painting and Native American art forms.

In 1951 Rauschenberg created his «White Paintings,» in the tradition of monochromatic painting, whose purpose was to reduce painting to its most essential nature, and to subsequently lead to the possibility of pure experience.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Along with Kiefer's earliest book, The Heavens, the exhibition includes Cauterization of the Rural District of Buchen, 1975, seven books made from charred remnants of paintings, indicating Kiefer's longstanding interest in alchemy and his exploration into the possibility of metaphorically healing a wounded German landscape; and Twenty Years of Solitude, 1971 — 91, which uses unbound lead pages as a foundation for a series of white, semen - stained ledgers.

«Exemplary of [The Chicago Effect: Redefining the Middle's] strengths is a brief interlude in the middle of the main gallery marked by a stripe of grey paint that hangs on the walls and floor between two halves of the white cube... Isolated Fictions: A Reenactment, as the sub-show is titled, presents a provocative case study in the generative possibilities between art schools, small galleries, art centers, and other «middle men» of the art economy.»

Eight white monochromes by Robert Ryman made from 1958 to 1992, a recent promised gift of Peter and Mimi Haas, and an early monochrome by Brice Marden, named after his friend Bob Dylan, also recently acquired, suggest the possibilities of monochrome painting.

Ever since his softly overpainted Views of Corsica series of 1968 - 69, the artist has revisited and reprised its possibilities, creating black - and - white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting.

I'm not familiar with his explanation about how he came to become curious about Stevenson screens and the possibility of temperature record deviations as the result of changing the paint on the boxes from old - fashioned whitewash in a strictly specified formulation to modern, more durable, but more heat - artifact - inducing white latex paint.

Once the possibilities were clear, so was its potential, and Bryan and Duffey both give credit to the entire design - build team for the success of this project, notably builder David Childers of Macallan Custom Homes, metalsmith Charles Calhoun, landscape designer Alex Smith of Alex Smith Garden Design and Vintage Lumber Sales, which supplied and installed elements such as river - recovered cypress and antique oak beams (even once painted white, the old - growth wood retained its depth of character).

When picking out the paint color, all I can really suggest (since I can't see it in person) is to look at the samples in all lighting possibilities — daylight, overhead lighting, at night, when it's overcast, etc. — to make sure you'll like the shade of white at all times.