Sentences with phrase «present shape paintings»

Locks Gallery is pleased to present Shape Paintings, featuring Jennifer Bartlett, James Havard, Ralph Humphrey, Elizabeth Murray, Joanna Pousette - Dart, David Row, and Richard Tuttle.

Not exact matches

Much modern painting fails to present any clear unity of idea; it appears to be an arbitrary, and sometimes even accidental, medley of colors and shapes.

The young Brooklyn - based artist presents a new group of paintings made from sheets of plywood that she cuts into organic shapes and covers in canvas, from an ongoing series she's dubbed «cut outs.»

At present her canvas - over-carved-wooden shapes, still paintings, are clearly sculptural.

The paintings present imagery of the universe like black holes, dark matter, stellar births: phenomena that are being visualized in a variety of different shapes and forms yet have no standardized structure.

Dagley presented four shaped paintings — two monochromes and two with checkerboard patterns — which were originally produced in 1987.

A selection of Castellani's large - scale shaped relief canvases, Superfici bianche (White Surfaces), are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners.

In Portraits, her first show in Chicago, the New York based artist presents three medium - sized paintings, each one featuring a head - like oval form, all of them technically dazzling with skeins of parallel dribbles that acutely change direction, forming a veritable undercarriage for hazy and more definite shapes.

The ongoing dialogue between the digital and physical worlds provides the backdrop for Data Deluge, an exhibition that presents a selection of sculpture, furniture, painting, photography, video, sound and works on paper by artists who shape Web - based and software - generated data into art.

Mac Whitney: Sculptures and Paintings presents the Ovilla, Texas - based sculptor's steel sculptures, most featuring interlocking, geometric shapes that he links together horizontally before welding them into his elegant painted structures.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Aptly titled, Robert Rauschenberg's Collection (1954) presents an array of photographs, fabric scraps, newspapers clippings, wood blocks, paint drips, shapes, colors, and textures jostling with one another and jockeying for position on one vibrant canvas.

The Frist Art Museum presents Chaos and Awe: Painting for the 21st Century, a sweeping survey of paintings from around the world that invite contemplation of seemingly ungraspable forces shaping contemporary society, from the ideological to the technological.

Nearby, William Villalongo presents a different utopian vision in «Jubilee», a painting shaped like a fan depicting a bucolic scene that's somewhere between «The Luncheon on the Grass» and the decor one might encounter during lunch at a Chinese restaurant.

Influences converged, passion and intellect were engaged, and seminal moments occurred to help shape the process: in 1962 when Irving Blum (who had taken over Kienholtz's position at the gallery) gave Andy Warhol his first solo gallery exhibition ever at Ferus (the Campbell's Soup Can Paintings); in 1963, when Hopps moved to the Pasadena Art Museum and presented the first retrospective of Marcel Duchamp in the US; in 1966 with Ed Kienholtz's epochal retrospective at the LA County Museum; and in the decade from the late fifties to the late sixties when Ed Moses, Billy Al Bengston, and Ed Ruscha among a handful of others were on center stage.

«Taking Shape» considers the affinities between sculpting, painting, and drawing in Degas's oeuvre by presenting the modèle bronzes alongside related pictures from the Norton Simon's renowned collection.

Since leaving London for New York in 1975, Scully has moved from colorful, plaid, shaped canvases, to narrow - striped paintings in single and multi-panels, to the present monumental, irregularly banded and constructed paintings.

For the exhibition, Crowner presents a suite of paintings staged above a curved, wooden platform, that mirrors the elemental, semi-circular shapes contained by her compositions.

This fall, the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents the first comprehensive retrospective of work by Harvey Quaytman, an under - recognized figure in twentieth - century American painting noted for his monumental shaped canvasses, material investigations, and interest in color as a pure medium.

Pasadena, CA — The Norton Simon Museum presents Taking Shape: Degas as Sculptor, an illuminating exhibition that explores the improvisational nature of Edgar Degas's artistic practice and considers the affinities between sculpting, painting and drawing in his oeuvre.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

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.

Monochromatic and painted on canvas, Jennifer Boysen's most recent works are distinguished primarily by the originality of the structures that serve as their stretchers, objects that she has either found or made, and that present a certain variety in terms of shapes, dimensions, and materials — wood, copper, steel, aluminium.

Shapes seem to advance and recede from the surface, coming back to the study of contrasts present in her early black - and - white paintings.

Zander Blom's exhibition «Place and Space» presents a selection of recent paintings, drawings and photographs in which the artist explores different configurations of lines, shapes and forms.

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

Courtesy Karma International, Zurich and Los Angeles © Sylvie Fleury The exhibition spans art in multiple media, from the Renaissance to the present day, with paintings, sculptures, installations, prints and watercolours, photographs, films, costumes and armour by some sixty artists: two hundred pieces testifying the many ways artists have viewed, commented and shaped the world of fashion through the centuries.

For his first solo exhibition in South Korea at Galerie Perrotin, KAWS (aka: Brian Donnelley) presents new entries into his well - loved series of shaped Snoopy & abstract paintings.

Initially painted in a standard rectangular format, as a final step to the painting process the paintings were cut into unusual shapes to focus the viewer's attention on what's present and not present.

His paintings move between abstraction and representation, presenting simple organic shapes in graphic and often chromatically vivid compositions.

In Views of Main Street, the artist's use of tattered furniture — Couch (2012), Chair (2003), and Untitled (2011), an oddly shaped maroon carpet, presented on a wall as a cross between painting and sculpture — illustrates most forcibly the artist's fifteen - year fascination with the effects of inequality.

For this exhibition Ezawa will present a series of paintings and silver gelatin prints derived from historical photographs and paintings that underscores a keen understanding of how images shape our experience and memory of events.

Lately, she says, she's «been thinking about the many ways in which one can view the same object, and how far one idea or one shape can be stretched, simply through how it is presented»; her new show accordingly runs variations on a fixed subject via a set of «inverted landscape» paintings (plus some 15 drawings), in irradiated hues, where space seems to twist itself inside out.

Hsiao will present a suite of new acrylic paintings on irregularly - shaped wooden panels.

Franklin Parrasch Gallery is pleased to present the first New York show of shaped, monochromatic paintings from 1965 - 66 by Ronald Davis — including four iconic examples that have not been on public view since the 1960's.

In addition to her shaped paintings, the artist will perform with a contribution from Ryan Lynch, promptly at 7:30 p.m. Kristin Skees will also present photographs of relatives and friends obscured by hand - knit sweaters, in a solo show.

This volume presents his most recent abstract pieces — most of them painted on canvas covering shaped stretchers — alongside an essay by critic and curator Vincent Pécoil.

East & West Galleries: Toronto Wall Drawings This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.

In his first one - man show at the Peridot Gallery in 1950, he presented stained and «dripped» canvases, influenced by his close friend Jackson Pollock, in which stains made on the reverse side of the canvas were used to generate «spontaneous» painted shapes on the front.

David Richard Gallery Presents New Mixed Media Paintings By Phillis Ideal That Emphasize Bold Compositions By Leveraging Color With Large, Reductive Modernist Shapes

For his fifth solo show at Casey Kaplan, Berlin - based, British artist, Jonathan Monk, will present a new body of work that takes shape from key principles of Conceptual art — the favoring of ideas over object - making, serialism, the dematerialization of the art object — interpreting them with a playful sensibility and through a variety of media: 16 mm film, painting, sculpture, drawing, photography, and a laser - light installation.

For this exhibition Vance will present twelve new paintings that share the same dimensions and vertical format, allowing for a particularly nuanced experience of their interior shapes and bold, primary hues.

He also painted stripes in interlocking grid patterns, resembling plaid, and later turned to irregularly shaped canvases that presented the illusion of three - dimensional objects.

Painting on raw canvas, she presents an assortment of recognizable objects (fire, smoke, alligators, matchsticks, letters) and simple geometric shapes (circles, zigzags) by using bright even colors and sharpened edges, leaving strong instant impression which continues to resonate visually, and creating moments of perverse tension.

For his first solo show in the U.S., the German Hurzlmeier presents a new series of paintings in his distinct, playful style — figures and faces crafted using angular shapes with rounded edges, all in eye - popping hues.

Many of the painting titles, Amber, Floater, Twister or Aura / Arch present a duality of meaning and like the images themselves - land, city, and outer space - shape - shift, fluctuating between the positive and negative, the microscopic and infinite.

The present work features a pyramidal shape, so named in one of the works in this series of paintings made virtually simultaneously.

Works including Toyin Ojih Odutola's The Treatment series of black pen drawing of famous white men like President Herbert Hoover rendered black, Zoe Buckman's feminist Every Curve series of lingerie embroidered with Biggie and Tupac lyrics, and Titus Kaphar's George Washington's Chef oil on canvas painting explore the historical and present impact of blackness on the shaping of identity and popular culture.

This Peterborough artist will present an installation of graphite and tempera drawing on the gallery walls in the West Gallery against painted shaped forms, projecting minimally off the walls of the East Gallery.