Sentences with phrase «scale oil painting made»

Not exact matches

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

In the last few years New York - based artist Michael Williams (born 1978) has evolved from making large gestural oil paintings to similarly scaled paintings printed with a billboard - sized inkjet printer.

Eric Fischl made his reputation in the 1980s with large - scale figurative oil paintings depicting ambiguous, erotically charged scenarios set in the American suburbs.

For his exhibition at Victoria Miro Mayfair, Khan has produced large - scale composite photographs made from a series of oil stick paintings.

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.

WHAT SHE MAKES: Large - scale paintings that mix traditional oil painting techniques with silkscreened images composited digitally from photo - editing software.

The exhibition, on view from November 29 — January 12, will include a dozen large - scale paintings made over the past year, using oil, acrylic, and hand - made spray - paint.

Below you can find more pictures including 3 paintings with oil and acrylic on canvas and a large scaled mural made in Bordeaux in 2015.

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 freezepaintings 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 freezepaintings 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 freezepaintings 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 freezePaintings 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 freezepaintings reimagine the still life as a chance freeze - frame.

Amy Sillman «s newest work includes high and low, fast and slow, large and small, and ranges across mediums, from large - scale oil paintings to a 7 - minute digital animation and several hundred inkjet prints made from stills of the animation.

In this show, as always, she is intensively engaged with drawing and its corporeality: drawings that she makes with her little finger on an iPhone screen, and the drawing process inherent to large - scale paintings which she makes using brushes, rags, scrapers and giant oil crayons.

I made large - scale paintings in oil, which were very much about expressive mark - making.

In addition to photography, he makes video installations, sculptures and large - scale oil paintings.

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.

The later works are a Peter Doig snow scene from 2001 - 02; Whiteread's maquette for her Trafalgar Square commission in 2001 which was a resin cast of the plinth itself; the Hurvin Anderson oil painting Maracus 111 from 2004; a Conrad Shawcross maquette for his large - scale work Continuum, a three - metre - high sculpture commissioned by the National Maritime Museum; and George Shaw's Ash Wednesday, 8.30 am from 2004 - 05, one of a number of Humbrol enamel paintings the artist has made over the years of the Coventry housing estate where he grew up.

Using the technique of oil painting as his favorite, he presents large - scale works made with an incredible hyperrealism.

Swing Landscape [fig. 1][fig. 1] Stuart Davis, Swing Landscape, 1938, oil on canvas, Indiana University, Bloomington, Ezkanazi Museum of Art was the first of two commissions that Stuart Davis received from the Mural Division of the Federal Art Project (FAP), an agency of the Works Progress Administration (WPA), to make large - scale paintings for specific sites in New York.

Thomas Nozkowski at PaceWildenstein (25th Street) 534 West 25th Street April 4 — May 3, 2008 Thomas Nozkowski (one of my favorite painters) makes solely small scale paintings in oil,...

Expanding her range of mark making in scale shifts and close ups, Ferris couples syncopated brushstrokes with airbrushed oil paint to create surfaces that combine the topography of textiles with the banter of gestural mark making.

Caland has collaborated with poets, artists, and designers during her time in Paris and in Los Angeles.Featured works include oil paintings created in Beirut in the 60's and full scale painted mannequins made in the 2010's in collaboration with Pierre Cardin.

For Conflicting Lines, his 2015 exhibition at Victoria Miro Mayfair, Khan produced large - scale composite photographs made from a series of oil stick paintings which have undergone an intensive process of overlaying lines of writing repeatedly painted on to a minimal ground, until the language became obscured.