Sentences with phrase «prints at crown»

Earlier this year, Dzama made three new prints at Crown Point Press, which will be debuted here, and shown with behind - the - scenes / making of the art video.

The sale includes an example of Delights, Thiebaud's seminal portfolio of etchings, printed at Crown Point Press, in Berkeley, California in 1964 ($ 60,000 - 80,000).

Not exact matches

Since the theme was flowers, I thought there was no better time to pull out this flower crown I picked up at Forever 21 a few weeks back and new floral crossbody bag from Hobo, which happened to match the print of the skirt perfectly!

Congrats on getting an amazing deal:) The best deal I've ever gotten at Anthro is probably the Whooo Are You Dress (the one with little fairies printed all over it) and the Northern Crown Blouse for just $ 10 each.

Last year, when the gallery held the show «Yes, No, Maybe: Artists Working at Crown Point Press,» it featured the final - edition print of «Green» from its collection alongside these three preliminary impressions or proofs.

He began printmaking in early 1962 at Crown Point Press and had a distinguished position in the printmaking circles, despite the fact he only made around 100 prints and exhibited them in American galleries and museum shows.

After moving to the US in 1987 he worked in various print studios including as Master Printer at Crown Point Press in San Francisco.

Our annual summer group show «Summer Choices» features prints by twenty - two prominent artists who have worked at Crown Point Press to create original prints by using the varied techniques of etching.

[7] He made his first serious foray into print making in 1972, when he moved himself and family to San Francisco to work on a mezzotint at Crown Point Press for a three - month residency.

Featuring 125 working proofs and edition prints produced by 25 artists between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half - century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions.

Last chances: «Particle and Wave,» an intriguing look at light as a tool of art (at Hosfelt Gallery through Saturday, March 19) features strong works by Jay DeFeo, Adam Fuss, Gay Outlaw and a dozen others... «Eleven Etchings by Leonardo Drew,» a small exhibition of very large prints recently produced at the incomparable (in San Francisco, at least) Crown Point Press, continues through April 2.

Photorealists, Exhibit A Gallery, Savannah College of Art and Design, Georgia, October 2 — November 25, 1997 Allegory to the Portrait: Changing Faces, Nassau County Museum of Art, Roslyn Harbor, New York, September 21, 1997 — January 4, 1998 Project Painting, Basilico Fine Arts and Lehmann Maupin, New York, September 11 — October 11, 1997 (Catalogue) Views from Abroad: European Perspectives on American Art 3: American Realities, Whitney Museum of American Art, New York, July 10 — October 5, 1997 (Catalogue) Thirty - Five Years at Crown Point Press: Making Prints, Doing Art, National Gallery of Art, Washington, D.C., June 8 — September 1, 1997.

1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..

1982 Geometric Art at Vassar, Vassar College Art Gallery, Poughkeepsie, USA Flowers and Gardens in American Paintings, DuBose Galleries, Houston, USA Paintings, Fuller Goldeen Gallery, San Francisco, USA New American Painting III, John C Stoller & Co, Minneapolis, USA New American Graphics 2 Shea Gordon, Pat Steir and Denise Green, Madison Art Center, Madison, USA Shea Gordon, Pat Steir and Denise Green, Mulvane Arts Center, Washburn University, Topeka, USA L'art Baroque, Musee d'art Contemporain, Paris, France Post Minimalisms, Aldrich Museum of Contemporary Art, Ridgefield, USA Representing Reality: Fragments from the Image Field — An Exhibition of Etchings and Woodblocks Prints by Gunter Brus, Francesco Clemente, Joel Fisher, Robert Kushner, Pat Steir, and William T Wiley, Crown Point Press Gallery, Oakland, USA (Traveling exhibition) Currents — A New Mannerism, Jacksonville Art Museum, FL; the University of South FL, Tampa, FL, USA

His woodcut prints have been exhibited at the Boston Printmakers Biennial (2015), at the the Lunder Gallery at Lesley (2015), at AD 20 / 21in Boston (2015 - 2016), at a two person show with his partner Diane at Half Crown Design in Cambridge (2013), at the «Friends of Bob» group show at Gallery Naga (2014) in Boston, and at «Waterfront Impressions», a solo show at the Paul Dietrich Gallery at C7A in Cambridge (2014).

Among the highlights of Chuck Close include an impression of Close's first print of his career, Keith, which he produced at Crown Point Press, here in San Francisco, in 1972.

Intaglio prints, (particularly those done by greats Ed Ruscha and Wayne Thiebaud at Crown Point Press), are distinguished enough by their line and ink's richness.

Kind of Blue — Winter Exhibition presents a selection of blue prints made by artists at Crown Point Press over the last four decades.

The exhibition Yes, No, Maybe: Artists Working at Crown Point Press, on view at the National Gallery of Art from September 1, 2013, through January 5, 2014, features 125 working proofs and edition prints produced by 25 artists between 1972 and 2010.

Or of the Crown Point Press archive at the Achenbach Foundation for Graphic Arts, the prints and drawings department of the Fine Arts Museums of San Francisco, to which the print publisher donates works from its latest editions.

Since joining the Gallery in 1986, she has organized, collaborated on, and coordinated numerous exhibitions as well as authored and contributed to various catalogues: Three Centuries of American Prints from the National Gallery of Art (2016), Louise Bourgeois: No Exit (2015), Focus on the Corcoran: Works on Paper: 1860 - 1990 (2015), Yes, No, Maybe: Artists Working at Crown Point Press (2013), Shock of the News (2012), Stanley William Hayter: From Surrealism to Abstraction (2009), Cotton Puffs, Q - Tips ®, Smoke and Mirrors: The Drawings of Ed Ruscha (2005), Roy Lichtenstein: A New Gift of Drawings (2005), Drawings of Jim Dine (2004), A Century of Drawings: Works on Paper from Degas to LeWitt (2001), The Unfinished Print (2001), Prints Abound: Paris in the 1890s, from the Collections of Virginia and Ira Jackson and the National Gallery of Art (2001), Marc Chagall's Early Prints and Drawings (1995), The Great Age of British Watercolors: 1750 - 1880 (1993), Drawings from the O'Neal Collection (1993), Käthe Kollwitz (1992), Master Drawings from the Armand Hammer Collection: An Inaugural Celebration (1989), and English Drawings and Watercolors, 1630 - 1850 (1988).

Finally, Richard Diebenkorn: Prints and Proofs, on view at the Crown Point Press gallery through January 5, closes the press's own year - long series of fiftieth - anniversary exhibitions.

Gemini G.E.L. at Joni Moisant Wey and Crown Point Press were both selling Julie Mehretu aquatints (the former had 12 framed prints hung together to create a large, frenzied architectural image, almost the size of one of her smaller paintings).

Richard Serra etchings, whose thick black texture resembled a layer of tar on the paper, were also available at Gemini; while Crown Point had an untitled Laura Owens print of a rooster precariously balancing on a tree branch.

The exhibition «Thirty - Five Years at Crown Point Press,» which opens Saturday at the Palace of the Legion of Honor, features 200 prints by such diverse artists as Helen Frankenthaler, John Cage, Sol LeWitt, William T. Wiley and Claes Oldenburg.

Washington, DC — Featuring 125 working proofs and prints produced at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of carefully considered decisions.

Kapoor has made and exhibited prints at San Francisco's Crown Point Press, but has never had a solo show of sculpture here until now.

Overview: Featuring 125 working proofs and edition prints produced between 1972 and 2010 at Crown Point Press in San Francisco, one of the most influential printmaking studios of the last half century, Yes, No, Maybe goes beyond celebrating the flash of inspiration and the role of the imagination to examine the artistic process as a sequence of decisions.

Previously, as Andrew W. Mellon Postdoctoral Curatorial Fellow in the department of modern prints and drawings, he organized the exhibition The Serial Impulse at Gemini G.E.L. (2015), cocurated the exhibition Yes, No, Maybe: Artists Working at Crown Point Press (2013), and coauthored the accompanying catalog for the latter.

It includes one impression of every print ever made at Crown Point, working proofs and preparatory sketches.

Anyone intrigued by Los Angeles artist Ed Ruscha's graphics retrospective at the Legion of Honor will want to see his newest prints on view at Crown Point Press, where he made them.

In San Francisco for the opening of his print archive earlier last month, Mr. Ruscha made seven new etchings at Crown Point Press.