Sentences with phrase «realist paintings on view»

(New York — October 26, 2011) Michael Rosenfeld Gallery is pleased to present Otherworldliness, an exhibition of surrealist and magic realist paintings on view from November 5 to December 23, 2011.

Not exact matches

From Megan Marrin & Tyler Dobson's Postkartenständer (Postcard Stand, 2014), on which photo - realist selfie paintings were offered as postcards stacked among kitschy tourist views, to Allora & Calzadilla's Contract (SWMU 10)(2015), a huge silkscreen of the lush, tourist brochure - style palm trees printed over a Warholish sweep of grey paint (a sign of the silkscreen medium itself), representation was shown helplessly submitting to the production which makes it visible.

One of the earliest works on view is Fisherman's Family (1931), a seemingly realist oil painting of a family scene.

On view October 22, 2016 — January 22, 2017, this exhibition surveys the state of representational painting at the beginning of the 21st century and features approximately 40 works by 20 contemporary realist artists from throughout the United States and Canada.

Recently on view at Danese Corey Gallery in New York, artist Shelley Reed's mural - sized paintings evoke the work of realist French or Dutch paintings from a bygone era — although at a slight removal given their monochromatic palettes.

On view are nature - inspired contemporary realist paintings by Adam Straus.

The powerful works on view represent four major branches of contemporary Chinese art: ink painting, realist oil painting, conceptual photography, and performance and new media art.

Nine of those studios, painstakingly reproduced by Fig as miniature sculptures or as realist paintings, are on view in «NEW / NOW: Joe Fig,» at the New Britain Museum of American Art in Connecticut through July 20.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

It may well be the theme for Betty Tompkins» large - scale realist paintings of heterosexual sex currently on view at PPOW gallery.