Sentences with phrase «scale paintings in the show»

Artist Matt Phillips will present 3 large scale paintings in the show, representing sound through the medium of painting.

Not exact matches

But Warhol, after submitting two scale models that BMW rejected, showed up at the studio and proceeded to paint the M1 freehand in 23 minutes.

Open studio showing new works of three artists featuring large scale abstract paintings by local educator Mike Irwin, contemporary abstract still life paintings by Jeanne Dentzel, and printmaking, assemblage and conceptual riddles in his numerous works on paper by local educator and arts activist Dug Uyesaka.

Paul Behnke's curatorial criteria for the show Eight Painters are compellingly straightforward: «an individual, rigorous vision; a certain ambition without regard for scale or a specific way of making a painting; and an abiding belief in the ability of paint - and specifically, the genre of abstraction - to best communicate the artist's appetite and inventiveness.»

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.

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.&raquIn 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.&raquin 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.&raquin 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.&raquin paintings made quickly.»

[10] Jones notes that Riley investigated Seurat's pointillism by painting from a book illustration of Seurat's Bridge at an expanded scale to work out how his technique made use of complementary colours, and went on to create pointillist landscapes of her own, such as Pink Landscape (1960), [10] painted soon after her Seurat study [13] and portraying the «sun - filled hills of Tuscany» (and shown in the exhibition poster) which Jones writes could readily be taken for a post-impressionist original.

In his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationIn his most recent exhibition Queens of the Undead at the Institute of International Visual Arts — Iniva, in London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin London, Donkor presented four of these highly regarded heroic women: «Queen Njinga Mbandi who led her armies against the Portuguese empire in Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin Angola; Harriet Tubman, the underground - railroad leader who freed 70 people from US slavery in the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin the 1850s; Queen Nanny who led the Maroon guerillas in Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin Jamaica that fought the British in the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin the 1700s; and lastly in what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin what is now Ghana, the 20th - century anti-colonial commander - in - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin - chief, Yaa Asantewaa».1 In the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationIn the second part of the show, three large - scale earlier paintings were on display in which his primary source of artistic creation were contemporary facts of violent confrontationin which his primary source of artistic creation were contemporary facts of violent confrontations.

Ranging from almost pocket - sized painting to the attention demanding large - scale, 60 x 62 inch canvases, Yossifor's abstract, gestural paintings show thickly applied paint, worked across the canvas in sometimes long, sometimes short strokes.

«Cristina de Miguel may have trained at a classically inclined art academy in Seville, Spain, but you'd be hard pressed to recognize that given the exuberant, large - scale paintings in «Absolutely Yours,» the artist's debut solo show with Freight + Volume in New York... [with] scenes that respond either to moments the artist has witnessed in New York, or to the act of painting itself.»

Joyce Pensato at Petzel Gallery, ADAA: The Art Show Bart Simpson, Mickey Mouse, and Batman all appear in Joyce Pensato's large - scale charcoal drawings and paintings, and have all joined together at the Park Avenue Armory for the first four - year retrospective of the Brooklyn artist's work.

Simultaneous to the painting show at CMCA, Bowdoin is showing six large - scale drawings in a small but powerful exhibition, «John Walker: A Painter Draws.»

This show brings together three heroically - scaled paintings by three painters working in a bold and expressive manner.

This show prominently features his large - scale 2005 painting 9.11.01 that was made in response to the September 11th tragedy, as well as the Martin Luther King series that the artist made in the 1960s.

Renowned art curator, historian, and Artistic Director of the Serpentine Galleries, Hans Ulrich Obrist, will be in conversation with American artist Dan Colen on «Sweet Liberty», Colen's first major solo show in London, which surveys the entirety of the artist's career to date and also features new paintings and large - scale installations.

Showing for the first time at LWP, Silva will present an assortment of 2D collage sculptures and paintings in Gallery Y and a large - scale multi-sensory, multi-media, video animation installation in Gallery X. Featured in Gallery O is...

The exhibition makes the most of Tate St Ives» expansive new display areas to show a number of Heron's large - scale paintings, and marks the evolution in his visual language, aesthetic sensibility and practice.

At the time, the gallery noted that the eight drawings featured in the show are a departure from the large - scale paintings for which Ofili is known.

Since you create paintings on very different scales — backdrops for big opera productions as well as your paintings that show in galleries.

Since I came to New York I have always been interested in a particular scale and I could get to that scale by making very large paintings, so I've always made these, and most people don't need large paintings, so some of the things I have never been able to show are these really large paintings.

Markus Linnenbrink will be exhibiting in his neighborhood of Bushwick for the first time, showing his large - scale painting MEINWILDEHERZ and other recent work.

Conceived as a single exhibition, Gagosian Gallery presented «The Complete Spot Paintings 1986 - 2011» across locations in: New York (Madison Avenue, West 24th Street, West 21st Street); Beverly Hills; London (Britannia Street, Davies Street); Paris; Rome; Geneva; Athens and Hong Kong in a show of unprecedented scale.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

The show will include many works that have never been shown in public before, such as his senior thesis An Image of Salome, in addition to his vibrant pastels, large - scale gestural paintings, and well - known prints, such as Dante's Inferno.

The grand yet sombre paintings on show in London are large in scale, using areas of black and gold leaf.

The show consists of paintings of varying scale, installed in Beefhaus» gruff and battered main room, charging the space with a level of domesticity it hasn't had in some time.

Along with shows by David Altmejd and Robert Therrien, it can illuminate a distinction once important in modern painting, between size and scale.

The work of Hodgkin's that was shown in the Turner shortlist exhibition - a perfunctory affair compared with the large - scale shows of today - was a painting called A Small Thing But My Own.

The display ends with Hamed Ewais's Le Guardien de la vie (1967 - 8), a large - scale oil painting that depicts a fighter, weapon in hand, while underneath him everyday events such as a wedding taking place and a child riding a bike are shown, suggesting the possibility of societal renewal following the collapse of the Pan-Arab ideal after the Six - Day War in 1967.

Engaging in their complexity and enigmatic in their elusiveness, John Mills shows his most recent large and small scale graphite and oil paintings on canvas with Rosamund Felsen Gallery.

Included in the Leyden Gallery show are mostly recent smaller - scale (for Koorland) script paintings of songs and poems, made this past year or two with an intimate, note - to - self quality, with an occasional older piece, inserted, as Koorland says, for content and colour.

Pibal's paintings, unique in their small scale and lovely color, nevertheless allow me to make some visual connections within geometric abstraction: to Miriam Schapiro's famous Ox painting, currently part of the «Wack» show (opening February 17 at PS 1) to Frank Stella's early geometries, and to Warren Isensee's Body and Soul, which I posted recently.

For a show I did in Brooklyn last year at This Must Be the Place, I showed domestic - scale paintings that depicted interiors and walls, keeping in mind that the gallery had recently been converted from an apartment.

Artists from Istanbul represented in Double Crescent are Hale Tenger, whose edgy assemblage works, addressing issues of gender and identity, have been exhibited at the biennials in Saõ Paolo, Johannesburg and Istanbul; Ali Kazma, whose powerful videos of people at their occupations have been shown at the Istanbul Biennial; Ayşe Erkmen, whose witty architectural interventions have been featured at Art Basel, the Hamburger Bahnhof and the Sharjah Biennial; Gülsün Karamustafa, a multimedia artist whose research - based installations on subjects such as nomads and refugees have been shown at Documenta, the Salzburger Kunstverein and the Walker Art Center and Nazım Ünal Yılmaz whose large - scale figurative paintings have been exhibited at the Kunsthaus Stade in Germany and Contemporary Istanbul.

From «Mother» (2017 — 2018), three new large - scale oil paintings, which borrow their imagery from Disney films, are shown in conjunction with a painted steel sculpture of a female nude in a classical twisted pose.

The main gallery is now showing Gu's signature series, «Alchemy» (2000), in tandem with the new large - scale ink paintings Genetic Ink and Green Tea Paper.

Alex Israel's Sky Backdrop (2016) depicts Los Angeles's wide skies in scenographic terms, while Mary Weatherford, showing her first large - scale painting since joining Gagosian, captures the shifting atmosphere of the Pacific coast, evoking the sky and sea in painted layers and glowing, neon light.

Emerging talent Clare Bonnet's work was a huge success in our Jamaica Street Artists exhibition earlier this year and this time we will show four recent, large - scale oil paintings of semi-abstract female studies.

During three weeks, fourteen artists show their works — large - scale installations, objects, paintings, video, performances, temporary interventions on the island located in the Lake of Constance.

Continuing his exploration of the Welsh coast and countryside, landscape painter Peter Kettle will show a collection of recent paintings introducing a new development in his use of colour, some large - scale and others in a smaller format.

Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.

Pleasingly, large - scale sculptural works do not overshadow paintings in the show, as each piece provides a different angle on the self - acknowledged ambiguous theme.

It was her now - famous large - scale painting from her M.F.A. thesis show at Parsons titled Class of 2007, which depicted her fellow classmates, who were all white, as black inmates, while Nina, the only black student in her class, painted herself as a gun - toting white prison guard with flowing blonde locks.

The series of large - scale paintings on show feature women not unlike the ones in the video projection.

There are a couple of very nice pieces by Fine reproduced in the «Suitcase Paintings» catalogue (for a group show of small - scale Ab - Ex that traveled in 07 - 08), as well as work by other women and men that undeservedly have been now forgotten.

Cristina de Miguel may have trained at a classically inclined art academy in Seville, Spain, but you'd be hard pressed to recognize that given the exuberant, large - scale paintings in «Absolutely Yours,» the artist's debut solo show with Freight + Volume in New York.

A swanky jazz doorbell alerted her to our presence at the sturdy doors to her studio, and the artist greeted us in a Depeche Mode T - shirt and Chuck Taylors, in front of a few large - scale paintings, some Pretty / Dirty books printed for the occasion of her solo show, and bowls of pins made for Planned Parenthood that read «Don't Fuck With Me, Don't Fuck Without Me.»

The portrait paintings, of which there were five (three of solitary visages, one bearing two heads, and one comprising a group of four severely discombobulated busts), were either medium or large in scale, and constituted the most labor - intensive, complex, and accomplished works in the show.

She moved to the United States in 1957, where she showed large scale paintings, soft sculptures, and environmental installations using electric lights and mirrors.

The later sections of the show frame the intersection of feminism and painting in easel paintings, large - scale works and performances by feminist artists in the 1970s and early 90s.