Sentences with phrase «red edge works»

Medium red edge works at the largest setting.

Not exact matches

Alternate slices of eggplant, zucchini, yellow squash and red bell pepper over the tomato paste mixture and continue to arrange the slices starting at the outer edge of the dish and working toward the middle.

Perfect for aspiring engineers and astronauts, campers use authentic NASA science to train to live and work on Mars.With cutting - edge motion and virtual simulators, the Red Planet has never been closer.

when I was a child we had a red light and used it with colds — too long ago to report on how it worked but my mom always was a bit cutting edge back then already

Alternate slices of eggplant, zucchini, yellow squash and red bell pepper over the tomato paste mixture and continue to arrange the slices starting at the outer edge of the dish and working toward the middle.

Formed in 2014 from a merger of innovative theatrical distributor Variance Films («Sound City,» «Red Hook Summer») and leading digital distributor GoDigital, Amplify uses cutting edge marketing and distribution techniques with a focus on working directly with filmmakers to craft hand - tailored release campaigns for each film.

The work proceeds to step entirely outside of their final iteration by exposing uncontrolled stains and drips of bright green and red paint on the canvas» thick edges.

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

Because the artist worked with the thick red layer when it was still wet, which means that the lines she scraped into it have raised edges: Think again of the passage of a plow.

To the Davis picture's left hangs Miriam Schapiro's Another Red Room (1967), a hard - edge work considered noteworthy partly for her pioneering use of computer modeling to experiment with 3 - D perspective, in contrast to the resolute flatness of the Davis and O'Keeffe paintings.

Organized by CAAM's visual arts curator Mar Hollingsworth, the show includes work by nearly 50 artists starting with the stunning 1964 painting by Daniel LaRue Johnson, Big Red, a square of dark red stripes framing a smaller square of charred black detritus, a piece that in itself contains both meanings of «Hard Edged.&raqRed, a square of dark red stripes framing a smaller square of charred black detritus, a piece that in itself contains both meanings of «Hard Edged.&raqred stripes framing a smaller square of charred black detritus, a piece that in itself contains both meanings of «Hard Edged.»

The exhibition will feature selections from the artist's best - known bodies of work: hard - edged «circle» paintings of the 1950s and 1960s and his signature red painted steel sculptures.

, curated by Esox Lucius & Patrice Ferrari, Ligny en Brionnais, FR Shimmering Substance, touring show, Cornerhouse, Manchester, UK Ursula Schultz - Dornburg, Across The Territories 1998 - 2001, IVAM, Valencia, ES The Red Night, 9th Annual Watermill Benefit Representing Nature, Museum of Contemporary Art, Chicago, US Waschsalon - Der Stof aus dem die Bilder sind, Aargauer Kunsthaus / Halle Schönenwerd, DE Drawings of Choice from a New York Collection Krannert Art Museum, Illinois, UK Extension, Works from the collection No. 2 Magasin 3, Stockholm Konstall, Stockholm, SW Something We Talked About: Badessari, McBride, Salle, Weiner, Brooke Alexander & Leo Castelli Gallery, New York, US Sans Commune Mesure, Image et texte dans l'art actuel, Museé d'Art Moderne Lille Métropole, FR Stars and Brights, Brigitte March Galerie, Stuttgart, DE L'Art Mol et Raide... Nouvelle Présentation de la Collection, Musée d'Art Contemporain de Lyon, Lyon, FR Extension, Magasin 3, Stockholm, SW MuHKA de Collectie een Keuze, Museum van Hedendaagse Kunst, Antwerpen, BE Group Show, Musée d'Art Contemporain de Bordeaux, Bordeaux, FR Les Enfants Du Paradis, Yvon Lambert, Paris, FR Museum in Progress, Galeria Continua, San Gimigano, IT Married by Powers, 11 choices from the Frac Collection by Bik Van der Pol plus 10, TENT, Rotterdam, NL 1968 - 1977, l'art en Cause (s), CAPC - Museé d'Art Contemporain de Bordeaux, Bordeaux, FR Kunstprojekte für den Neubau der Universität Klagenfurt, Universitat Klagenfurt, Klagenfurt, DE Les Années 70: l'art en Cause 1968 - 1977, CAPC, Musée d'Art Contemporain Entrepôt, Bordeaux, FR Building Structures, P.S. 1 MOMA, Long Island City, New York, US Extra Art: A Survey of Artists» Ephemera, 1960 - 1999, Institute of Contemporary Arts, London, UK Comer o no Comer To Eat or not to Eat, Centro de Arte de Salamanca, Salamanca, ES 2002 Taipei Biennial: Great Theatre of the World, Tai Pei Fine Arts Museum, Taipei, CN Markers a Banner Project of Artists & Poets for Venice Biennale 2001 - a Choice of 55 Works, The International Artists» Museum & Orensanz Foundation, Center for the Arts, New York, US Postcards From The Edge, Visual AIDS, benefit show and sale, New York, US RxART Ball, Barney's New York Co-op, New York, US To Hear Yourself As Others Hear You; William Furlong, South London Gallery, London, UK Bloody Amateurs, Unknown Public, London, UK

In one of his most famous works, the 1963 Red Blue Green, for example, two shapes, one red, one blue, both contrast and resonate with a green background that extends to the edge of the canvas on both sides, appearing at moments to be the work's primary shaRed Blue Green, for example, two shapes, one red, one blue, both contrast and resonate with a green background that extends to the edge of the canvas on both sides, appearing at moments to be the work's primary shared, one blue, both contrast and resonate with a green background that extends to the edge of the canvas on both sides, appearing at moments to be the work's primary shape.

I think of this as the subtext of Untitled (1968), a relatively small work painted in acrylic on paper mounted on board, with its flickering flames of bright cardinal red licking at the edges of the bottom beam of black.

Her red wrought - iron forms are painted with a free hand brought to heel to edge several of the ceiling's supports.

Rothko's key works include: Slow Swirl at the Edge of the Sea (1944, MOMA); Multiform (1948, National Gallery of Australia, Canberra); Untitled (Violet, Black, Orange, Yellow on White and Red)(1949, Guggenheim Museum, New York); Green and Maroon (1953, Phillips Collection, Washington DC); Untitled (Purple, White and Red)(1953, Art Institute of Chicago); and Light Red over Black (1957, Tate Gallery, London).

Stamos's work, Infinity Field, Lefkada Series # 8 (1978) explores the expansiveness of the color, where broad areas of the canvas are covered by swathes of red, broken only by thin lines on the edges of the canvas.

It is exciting to see a handful of early works in which Ms. Baer found her footing, especially one with a black field edged in red whose militaristic connotations are furthered by the addition of two red stars.

Look at the rows of teeth - like shapes in «Red Cavalry» (2010) or the large red, sectioned and spreading form descending from the top edge in «City to Love» (2013 - 2016)-- another painting Webster has worked on for years — and one sees a relentless push by an artist who has always tested what he could do with paiRed Cavalry» (2010) or the large red, sectioned and spreading form descending from the top edge in «City to Love» (2013 - 2016)-- another painting Webster has worked on for years — and one sees a relentless push by an artist who has always tested what he could do with paired, sectioned and spreading form descending from the top edge in «City to Love» (2013 - 2016)-- another painting Webster has worked on for years — and one sees a relentless push by an artist who has always tested what he could do with paint.

The bench also came with that red distressed edge, so in an attempt to work around that I started off by painting the bench in Slate by Kristi Kuehl Pure Home Paint, which is a darker gray than my next layer will be.

Fortunately, the red work had pretty lace edges, so I just strategically wrapped the fabric around the pillow and tied it at either end with a length of Baker's twine.