Sentences with phrase «scale oil on paper»

Across the street at the New Museum, only a few examples, such as Kerstin Brätsch's large scale oil on paper pieces, Kitty Kraus» light bulb and mirror boxes commanding large areas of the third floor and Tala Madani's small scale oil paintings evidence a similar confidence in the object as a vehicle.

Not exact matches

More than 20 large - scale oil paintings will be on view alongside 50 never - before - exhibited works from the 1930s, which show the artist working in watercolor and gouache on paper.

His large - scale works begin as drawings either on paper or on the computer screen before they are printed or transferred to canvas and then embellished with oil paint.

The first step is painting on a large piece of Mylar, the scale of this piece of paper and he would use an oil stick or a paintbrush to paint an image on the Mylar.

For his second solo outing at the gallery, White will exhibit large - scale oil paintings as well as smaller works on paper, in which he continues his examination of the interstices between representation, abstraction and the tactile sphere of everyday life.

Many of the Depression - era paintings she made were oil on paper, because materials were hard to come by and expensive, and the exhibition is dominated by large - scale compositions on paper.

These drawings, heavily layered with red and white oil stick on thick paper, range dramatically in scale from three - inch - high stick figures to enormous multi-panel compositions.

This is the next series in the Coloringbook Portfolio and «Paper Doll» Series, large scale oil and digital ink paintings on sheets of pPaper Doll» Series, large scale oil and digital ink paintings on sheets of paperpaper.

A one - person exhibition of large scale Triangle paintings and oil stick on paper followed in 1993, at the Andre Zarre Gallery [11] where the artist employed a tight grid overridden by gesture and a plastic color palette.

The German artist has garnered international acclaim for her expressive large - scale watercolour and oil works on paper featuring figures in various states of repose.

Bill White is a painter whose works range from small works on paper to large - scale oil paintings.

Employing both drawing and collage, Taylor creates the pieces by combining charcoal, graphite, cloth, oil, paper and wire into works full of minute complexity on a gigantic scale.

For this exhibition, Moyer has produced a series of vibrant, large - scale paintings, a dramatic, architectural sculpture, and drawings in oil on paper.

Working in oil on canvas, ink on paper, and mixed - media collage, Krasner produced works characterized by a sensuous painterly style, her large - scales collages often formed from the artist's own cut - up paintings and drawings.

For her first exhibition with Sean Kelly gallery and her first solo show in New York since 2014, Sam Moyer has realized a vibrant series of large - scale paintings as well as an architectural sculpture, and a range of drawings with oil on paper.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Using traditional oil paints, epoxy resins, house paints and other mixed media, his abstract variations range from small explorations on paper to large - scale paintings.

This catalogue is published in conjunction with Minus, Tal R's second solo exhibition at Victoria Miro Gallery, which features a new series of large - scale oil paintings and works on paper.

Huang Zhiyang, who was instructed in Chinese calligraphy as a child, is recognized for his large - scale oil paintings, ink washes on silk, and drawings on paper.

No longer on roughly cut sheets of paper, these oil paintings dominate the gallery with their crisp shapes, large scale and emotive brushwork.

For his first exhibition of paintings in a decade, the artist will feature two large - scale oil on panel works (each measures approximately eight by sixteen feet and seven by twelve feet respectively), six smaller paintings on panel and a number of collage works on paper.

This homecoming exhibition is the largest showing of Lee's work in Korea and will feature his signature works — large - scale ballpoint works on canvas and on paper — along with his new oil on canvas works, and will be presented at Gallery Hyundai located at 80 Sagan - dong, Jongno - gu, Seoul.

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.

For this large scale work Samorí used a composite technique - oil painted monotypes are laid on assembled papers on canvas uniformed by a coat of tempera.

The works are large - scale oil stick paintings on paper using a personal vocabulary of line, gestural marks, color and texture.

Inka Essenhigh discusses creating the large - scale oil paintings on paper that will be exhibited in Comet Dust & Crystal Shards, her inaugural exhibition at Jacob Lewis Gallery.

After seeing James Bishop, which is currently on view at David Zwirner (September 6 — October 25, 2014), I would urge anyone who cares about what an artist can do with paint to go and immerse themselves in this beautiful, sensitive, astringent exhibition of eleven mostly square, human - scaled paintings in oil and four small works (all are less than six inches in height and width), done in oil and crayon on paper.

Due to the loss of his studio in the early 1970s, Reed had to radically scale down his work, shifting to oil pastels and gouache on paper.

Drawing inspiration from architectural space and natural materials, Moyer produced a series of large - scale paintings, drawings on oil paper and an architectural sculpture.

As with her oil paintings, Frecon's works on paper continue her investigation of a highly allusive, geometric and yet still organic abstraction; mostly small in scale, they are remarkable for their quiet presence and power.

Organized in collaboration with the Zao Wou - Ki Foundation, the exhibition will have a strong focus on large scale paintings including both Chinese ink on paper works and oil paintings.

The works exhibited consist of oil and acrylic paintings on canvas, woodwork, paper works, small scale drawings and found objects.

In large - scale paintings on hand - made paper - using watercolour, oil - paint, ink and mark - making - she makes sense of the land's shape, its boundaries, its character, its history.

T01944 FLAXMAN: UNDERSTUDY [from](SANDSEND SERIES FROM BEYOND THE WORLD»S END) 1972 [T01941 - T01944; complete] Inscribed «FLAXMAN understudy Sandsend Series from beyond The World's End» b.l., «Scale 1 = 4» b.c. and «optional orientation - preferred position Ian Stephenson 1972» b.r. Oil and enamel with ballpoint on paper treated with white polish, 30 × 40 (76.2 × 101.6) Purchased from the artist (Grant - in - Aid) 1975 Exh: 11 englische Zeichner, Kunsthalle, Baden - Baden, May — June 1973, and Kunsthalle, Bremen, July — August 1973 (Stephenson 16); Recente Britse Tekenkunst, Koninklijk Museum, Antwerp, September — October 1973 (Stephenson 16); Art as Thought Process, Serpentine Gallery, December 1974 — January 1975 (no numbers); Ian Stephenson: Paintings 1955 — 66 and 1966 — 77, Hayward Gallery, March — April 1977, also Arnolfini Gallery, Bristol, May — June 1977, and Turnpike Gallery, Leigh, August — September 1977 (72) All four studies [T01941 - T01944] were first shown at an informal British Council preview, Drawings by 11 British Artists, at the Hayward Gallery in London on 16 March 1973, immediately prior to their despatch for tour in Europe.

This technique is evident in oil paintings and also in large - scale watercolours on paper mounted on canvas.

Surprisingly, oil and gas majors are making some of the biggest strides towards disclosure, according to a research paper written by Krzus and Harvard Business School professor Robert Eccles and focused on the feasibility of scaling TCFD adoption.