Sentences with phrase «red paint marks»

Not exact matches

Aaron's most significant home runs have been marked where they came down — No. 500 by a white square on the Fan - A-Gram electric announcement board, No. 600 by the appropriate numerals painted in white high on the wall down the leftfield foul line and No. 700 by a seat painted red among its baby - blue fellows in the leftfield stands.

The on topic Q&A included redesign plans for other streets, especially Queens Boulevard, why the administration attributes the reduction in pedestrian fatalities to Vision Zero and not to regular year - to - year variances, how the administration actually knows that driving speeds are reduced, why so few street redesign projects have been done on Staten Island, data for any changes in safety at this E.Tremont / Silver Street intersection, why Commissioner Bratton did not attend, why there are few speeding and failure to yield tickets issued in this (45th) precinct, the negative effect of speed bumps on emergency response vehicles, plans for marking and painting of roads, whether the mayor will seek additional red light camera authorizations from the state legislature, the paucity of criminal prosecutions against drivers who kill pedestrians and an estimate of money received from speed camera tickets.

The spot sits in a right - turn only lane that is clearly marked with an arrow painted on the pavement and a pair of bright red sidewalk signs that say «NO STANDING ANYTIME» and have arrows pointing toward each other.

As I stand among the sawed - off stumps and charred remains of a small grove here, officials have just painted more of the ancient tree trunks with red X marks to signify eventual destruction.

Marks on the side were characteristic of rubbing against adjacent shell beads, while traces of red ochre may have come from contact with body paint.

Images sent back by the camera have revealed hieroglyphs written in red paint and lines in the stone that could be marks left by stone masons when the chamber was being carved (Annales Du Service des Antiquités De L'Égypte, vol 84, ISBN: 978 -977-704-184-3).

Fifties wooden candleholders painted red and marked underneath «Made in Denmark.»

The Grand Sports had blue metallic paint with a white stripe and red «hash marks» on the left - front fender with an LT4 engine under the hood.

The undercarriage is finished in red oxide, and has the correct paint daubs and markings.

The 1LE Concept is distinguished by its Victory red paint scheme with contrasting matte - black hood and hash marks on the fenders.

The Cardinal Red paint is beautiful and it still retains the factory paint marks on all the parts.

The red paint is beautiful with no fading, marks or dings.

It also includes, black - painted aluminum wheels with red hash marks, a black - out grille, and black mirror patch.

Droid officers were marked with their typical yellow paint while the specialist droid would be marked with red.

To recap: Marguerite Hoffman sued David Martinez in 2010 after a big red painting by the abstract expressionist artist Mark Rothko turned up on an auction block not long after she sold the piece to Martinez at a discount of $ 17.6 million (he eventually got $ 31.4 million for it at auction).

In the first, a transparent and uneven blue wash pours over occasional spots of yellow and red, and light pencil marks hover around a skeleton of unmediated black lines made by his usual method of squeezing paint directly out of the tube.

His joyous «Red Paintings» mark the beginning of his most compelling and experimental period, the Combines.

The composition is dominated by a large expanse of wood painted with the artist's iconic cadmium red, resulting in an area that resonates and reverberates with an intensity of color that is unrivalled in twentieth century art, except perhaps by the forces of color created by Mark Rothko on his large - scale canvases.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

Matisse's Pianist and Checker Players (1924), for example, a detail - packed interior scene, is bracketed by two fields of deep red: a 2002 painting by Helen Frankenthaler, and No. 44 (Two Darks in Red)(1955) by Mark Rothred: a 2002 painting by Helen Frankenthaler, and No. 44 (Two Darks in Red)(1955) by Mark RothRed)(1955) by Mark Rothko.

The house has also landed a splashy 1961 red Mark Rothko painting, estimated to fetch $ 18 million to $ 25 million.

And these big red paintings, marked in red (with one small white exception) with a kind of insignia or logo pushed at times to the edge of the field or centering it grandly, all on sumptuous brown linen, would appear to be an attempt at finitude, an attempt to bring together the specificity and thrill of the now (as embodied by fashion) and the lush severity and awe of Great Painting.

These marks of red, yellow and blue are an attempt to open a dialogue with the very stone on which they are painted.

First it soars in bold fire - engine red in Mercer's Stop, a major painting made in 1971, then dives under the monochrome and textured surface of Nu Nile (painted two years later) and passes even more subtly under the «roller» marks (as he calls them, for the tool that made them) of Midnight Oil, from 1979.

Iglesias, F.Meisenberg, B.Ruais, K.Thorne, J.VanDyke / Abrons / 466 Grand / thru 12/20 Kaari Upson / Ramiken Crucible / 389 Grand / thru 12/14 Matt Connolly / Essex Flowers / 365 Grand / thru 1/4 Opening 11/21 Keumnin Lee / Shin / 322 Grand / thru 11/30 Ulf Puder; Bettina Blohm / Straus / 299 Grand / thru 12/12 Amy Lien & Enzo Camacho / 47 Canal / 291 Grand — floor 2 (new location) / thru 12/21 Bright Matter: LAb [au]; Numen / For Use; Joanie Lemercier; Nonotak; François Wunschel / Guepin / 83 Orchard / thru 1/11 Opening 11/21 Kiki Kogelnik / Subal / 131 Bowery / thru 12/19 Brad Troemel / Tomorrow / 106 Eldridge / thru 11/30 (extended) The Contract / Essex Street / 114 Eldridge / thru 1/11 Opening 11/21 Reception 11/22 Foster Mickley / Munch / 245 Broome / thru 12/21 Opening 11/21 Robin Kang; Duhirwe Rushemeza / Tabacaru / 250 Broome / thru 12/9 Michelle Lopez / Preston / 301 Broome / thru 12/21 Alexander Tovborg / Beauchene / 327 Broome / thru 12/21 Mary Ann Aitken; John Maggie; Jonathan Rajewski / Hanley / 327 Broome / thru 12/21 Guglielmo Achille Cavellini / Whitebox / 329 Broome / 11/1 thru 11/30 Yui Kugimiya / Marlborough / 331 Broome (third NYC location) / thru 12/21 Opening 11/20 Lily Ludlow / Canada / 333 Broome / thru 12/14 Ulrike Theusner; Paul Brainard / Lodge / 131 Chrystie / thru 12/14 Cristina Vergano / Woodward / 133 Eldridge / thru 12/21 Nayda Collazo - Llorens / LMAK / 139 Eldridge / thru 11/30 James Hoff / Callicoon / 49 Delancey / thru 12/21 Noam Rappaport / Fuentes / 55 Delancey / thru 12/21 XYZ collective / Brennan & Griffin / 55 Delancey / thru 12/21 Jana Winderen & Marc Fornes / Storefront for Art & Architecture / 97 Kenmare @ Centre / thru 11/21 Maya Bloch / Thierry Goldberg / 103 Norfolk / thru 12/21 Josh Faught / Cooley / 107 Norfolk / thru 12/21 Joseph Montgomery / Gitlen / 122 Norfolk / thru 12/21 My Big Fat Painting curated by Rick Briggs; Fred Gutzeit / Morris / 163 Chrystie / thru 11/23 (extended) Closing Reception 11/20 (7 - 9 PM) Mark Joshua Epstein / Morris project space / 163 Chrystie / thru 12/20 Opening 11/20 (7 - 9 PM) Addie Wagenknecht / Bitforms / 131 Allen (new location) / thru 12/7 David Mramor / James / 143b Orchard / thru 12/7 Angelo Volpe / Krause / 149 Orchard / thru 12/8 Beatrice Scaccia / Cuchifritos / 120 Essex (SE corner of market) / thru 11/30 Tommy Hartung / On Stellar Rays / 1 Rivington / thru 11/30 Valeska Soares / Eleven Rivington / 11 Rivington / thru 11/23 Bill Traylor / Cuningham / 15 Rivington (new location) / thru 12/6 Micki Pellerano / Envoy / 87 Rivington / thru 11/23 Do the Write Thing: Read Between the Lines / Berst / 95 Rivington / thru 12/20 Guglielmo Achille Cavellini / Lynch Tham / 175 Rivington / thru 12/21 Jessica Rankin / Salon 94 / 1 Freeman Alley / thru 12/21 Red, Yellow and Orange: Ford Crull; Debra Drexler; Peggy Cyphers / Van Der Plas / 156 Orchard / / thru 12/31 AS IF: Abigail Donovan; Troy Richards; Robert Straight; Peter Williams / Novella / 164 Orchard / thru 12/6 Raquel Rabinovich / Y / 165 Orchard / thru 12/23 Opening 11/21 Tai Ogawa / Matsumiya / 153 1/2 Stanton / thru 12/31 Magnolia Laurie / Frosch & Portmann / 53 Stanton / thru 11/23 Forces at Play: S.Crider; B.Gardner; M.Keller; J.Mellon; L.Rablin / Molly Krom / 53c Stanton / thru 11/30 Valeska Soares / Eleven Rivington / 195 Chrystie (second location) / thru 11/23 Sara Goldschmied; Eleonora Chiari / Lorello / 195 Chrystie — floor 6 / 11/19 thru 1/25 Reception 12/11 Kader Attia / Lehmann Maupin / 201 Chrystie / thru 12/13 George Horner thru 12/6, Henry Mandell thru 1/10 / Charles / 196 Bowery Lili Reynaud - Dewar thru 1/25; Chris Ofili thru 2/10; etc. / New Museum / 231 - 235 Bowery Takeshi Murata / Salon 94 / 243 Bowery / thru 12/21 Heinz Mack / Sperone Westwater / 257 Bowery / thru 12/13 Notes on Undoing / Garis & Hahn / 263 Bowery / thru 12/20 Opening 11/20 Charles Dunn / Rucker / 141 Attorney / thru 11/26 Serge Alain Nitegeka / Boesky East / 20 Clinton (new, third NYC location) / thru 12/21 Matthew Fischer / Junior Projects / 139 Norfolk / thru 12/21 Pierre St - Jacques / Station Independent / 164 Suffolk / thru 12/14 Aki Sasamoto / JTT / 170a Suffolk / thru 12/14 (Performances 12/12 @ 6 PM) Sara Greenberger Rafferty / Uffner / 170 Suffolk / thru 12/21 Matt Hoyt / Bureau / 178 Norfolk / thru 12/21 Stuart Shils / Harvey / 208 Forsyth / thru 12/21 Opening 11/19 Arianna Carossa / Rooster / 190 Orchard / thru 1/4 Opening 11/25 Greer Lankon / Participant / 253 E Houston / thru 12/21 Henry Flynt / Audio Visual Arts / 34 E 1st / thru 11/23 (extended) Joel Holmberg / American Contemporary / 4 E 2nd / thru 12/19 Early Man / The Hole / 312 Bowery / thru 12/28

The picture is divided into nine sections — three distinct vertical panels marked by three horizontal bands of pictorial activity — and the image is almost quartered by the intersection of the red and white lines of paint mentioned above.

Ellsworth Kelly's (Birthday) Party Dress — To mark the great man's 90th birthday, coming up on May 31st, the art advisor Sharon Coplan Hurowitz convinced Kelly to work with Calvin Klein designer Francisco Costa to remake a lost 1952 dress that was based on the artist's painting Red Yellow Blue White — and it's now headed for the Met's Costume Institute.

He started with Red paintings, then the Blue ones and finally came to the Black that marked his career for the rest of his life.

Seeing Reds: Robert Mnuchin got the idea for a show of Modern masterpieces around the theme of the color red while watching John Logan's play about Mark Rothko and the painting of the Seagram's murals that now reside in the Tate in London.

The strokes were made with a brush loaded with red or black and painted directly onto a wet ground; we can see the speed of the mark, the downward pull of gravity, and the drips where they meet.

The paintings include large, textured, stained, all - over canvas creations like Schwabacher's Antigone I, from 1958, a 51 x 82 1/4 inch canvas of blood red, ochre, black, blue, gray and white markings that is a figurative abstraction of the Greek myth.

Mark Grotjahn, Untitled (Yellow Butterfly I Red P MARK GROTJAHN 07 781), 2007 Oil on linen, 63 x 53 inches May 30 — July 31, 2009 «I have an idea as to what sort of face is going to happen when I do a «face painting», but I don't exactly know what color it will take, or how many eyes it's going to have, whereas the «butterfly paintings» are fairly planned out.

His first museum shows were in 1976: a drawings show of works from 1958 - 1970s at the Wight Gallery at UCLA, and a show of new abstract and cubist red paintings at LACMA curated by Stephanie Barron, marking a transitional moment in his career.

Other highlights from the collection include Mark Rothko's iconic yellow, red and pink block work Untitled from 1969, Pierre Bonnard's oil painting of his pet dachshund at his house in the Bay of Cannes, and a cast of Rodin's career - defining sculpture The Kiss, which Perry Bass purchased for his wife in celebration of their 25th wedding anniversary.

Shimmering complex red, blue, gold and white contemporary abstract mixed media painting in resin and oil by Erin Parish, whose trademark paintings are marked by the repetition of cir...

Her first marks, in red and other bright primaries, leave plenty of white space, like poured paint for Helen Frankenthaler or, in some series, Morris Louis.

Among the ten most expensive paintings ever sold are two by artists and styles Greenberg sort of «discovered» — Mark Rothko's No. 6 (Violet, Green and Red) sold for $ 186 million, and Jackson Pollock's No. 5 sold for $ 165.4 million.

Vertical, curvilinear shapes prevailed in the past decade and also characterize her wall painting Rajasthan (2012), a composition of intersecting forms in green, gray, orange, and red whose presentation here marks its first display outside of Europe.

His first museum shows were in 1976, marking a transitional moment in his career: a show of drawings from 1958 - 1970s at the Wight Gallery at UCLA, and a show of new abstract and cubist red paintings at LACMA curated by Stephanie Barron.

Back inside, the Whitney still has a pretty impressive collection of art housed in its multi-floor gallery spaces — from Patrick Henry Bruce's Painting, c. 1921 - 22, a collection of vivid pinks, ocean - like blues and deep navy in geometric forms; and Mark Rothko's impactful Four Darks in Red, 1958; to Edward Hopper's iconic Early Sunday Morning, 1930; and more.

«REDS» includes paintings and sculpture by 25 artists, including Francis Bacon, Louise Bourgeois, Alexander Calder, Willem de Kooning, Jeff Koons, Yayoi Kusama and Mark Rothko, to name a few.

He painted the outer walls red and blue and covered the bottom of the swimming pool with blue «French marks».

Moving through the galleries, there is Mark Rothko's Light Cloud, Dark Cloud, 1957; Philip Guston's The Light, 1964; the essential light / dark dichotomy in Callum Innes's Exposed Painting Mars Black, 2002; the red flashing light in Robert Rauschenberg's Whistle Stop (Spread), 1977; Dan Flavin's Diagonal of May 25, 1963, 1963; Robert Irwin's use of light to create the shadows that define Untitled, 1968; the projected light that makes visible Bill Viola's The Greeting, 1995; the reflective quality of the Plexiglas in Donald Judd's stacked piece Untitled, 1967; and the stars in Vija Celmins's Night Sky # 17, 2000 — 01.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

The BMA sold a Mark Rothko painting, «Olive Over Red» for $ 950,000 in 1988 after receiving another Rothko as a gift.

Utterly distinct marks suggest looping links of color presenting the artist's discoveries of richer more rare hues — especially red, a color of love and strength — giving these paintings a sense of active and light filled passion.

Crosshair Brand is a sculpture in two parts that presents a tool Johnson uses to mark the surfaces of many large - scale paintings on red oak, along with a small base also in red oak, and marked in a similar manner.

«China New Art», Lisbon Museum of Art, Portugal; «Faces and Bodies from Middle Kingdom: Chinese Art of the 90s», Prague Art Museum, Prague, Czech Republic; «8 +8 - 1: 15 Chinese Artists», Schoeni Art Gallery, Hong Kong; «Quotation Marks: Chinese Contemporary Paintings», Modern Art Museum, Singapore; «Red and Grey: Eight Avant - Garde Chinese Artists», Soobin Art Gallery, Singapore; «Hundred Years of Chinese Portrait», National Art Museum of China, Beijing, China.

The National Gallery of Art presents a special installation of three of Mark Rothko's paintings made for the so - called Seagram Mural Project, timed to coincide with the presentation of John Logan's play Red at Arena Stage at the Mead Center for American Theater (January 20 to March 4), which dramatizes Rothko's struggle with the commission.

Areas of blue at the top of the canvas and bottom sections of scumbled green — that evidence the drip marks of thinned paint — act as points of enclosure for a sandy colored swath which is punctuated by accents of red.