Sentences with phrase «scale paintings look»

The large - scale paintings look like oversized, close - ups of painting surfaces.

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 most minimal examples, we are presented with a singular aperture, which, taken out of context and scale, also suggests an eye socket — as though to imply that one must even look through the eye, and that all these painted rectangles are re-constituted and shifted from ovular visions.

In Chicago, Looking at the Present examines Dine's recent large - scale paintings.

The paintings after 2005 — a collage of grids in different scales colliding at different angles; a counterpoint of impasto freestyle painting, or silk - screened commercial imagery, or an expanse of text with the deadpan look of an old phone book.

Art dealer and author Louis K. Meisel coined the term «photorealism» in the late 1960s to describe large - scale paintings created to look photographic.

In the same manner when looking at the nature of the paintings worked surface, the imagery's style of rendering, or the scale and impact of the works one must consider multiple traditions.

Julie Mehretu, in conversation with curator Gary Garrels, looks back at the multiyear process during which she produced HOWL, eon (I, II), a large - scale painting across two canvases commissioned for the atrium, which is freely accessible to the public.

The figures who people Njideka Akunyili Crosby's large - scale works — hybrids of painting, drawing, collage, and printmaking — inhabit familiar - looking domestic interiors.

Milne's paintings look back to an earlier, smaller scale of operation.

Christopher Rothko draws on an intimate knowledge of the artworks to present eighteen essays that look closely at the paintings and explore the ways in which they foster a profound connection between viewer and artist through form, color, and scale.

Look for the way that he deconstructs problematic narratives surrounding Canada's indigenous population in his stunning, large - scale paintings at Pierre - Franҫois Ouellette Art Contemporian.

She is best known for painting large scale, realistic nudes of her own body as seen from her perspective looking down.

Ranging in scale from the intimate to monumental, each painting compels the viewer to look at it from different angles as the waves and folds reveal themselves through a longer engagement.

Large recent paintings such as 2010's Untitled (Woldgate) have looked equally closely at woodland undergrowth, but on an epic scale.

The reddish - orange objects in a pair of paintings from 1938 seem positively blaring, while in another piece, from 1941, we look up at three objects whose scale makes them seem heroic, in a way all too uncomfortably resonant with the ideals of that moment.

Although Goldberg is best known for his large - scale, New York School paintings, a close look at his later work reveals affinities with graffiti art and an urban aesthetic placed in productive tension with the rigors of postwar American abstraction.

Featuring large - scale installations, lush colorful paintings, video works, and sculptures from the 21st century as well as an accompanying exhibition of works by Francis Newton Souza, one of the most important 20th century Indian painters, these exhibitions showcase two significant Columbus - based collections, offering an unprecedented look at modern and contemporary art from India.

This will be an interesting chance to get a closer look at the process of a prolific abstract painter in a smaller, gallery setting, as the New Work show will be an assortment of gouache color studies, 2D drawings, and large - scale paintings.

On display are several new bodies of greatly varied work: a series of paintings based on Amish quilts; a series of silk - screened paintings of t - shirts; sculptures made out of stacks of flattened cardboard with enormous eyes; large - scale pattern paintings featuring panda bears; a wall with photos of cats that look like Hitler.

His large - scale paintings, drawings, prints, and sculpture blended Native Northwest culture with images influenced by art around the world, in the process challenging traditional notions of what Native art could look like, probing how art intersected with colonization, trauma, and identity.

Newman creates a painting called Cathedra, but on a human scale that could make even the marvelously human artefacts of Rachel Whiteread today look pretentious by comparison.

But lately I've been looking at his large - scale paintings from 2007/2008 and marveling over the way -LSB-.....]

The main room feels overwhelming in scale, full of over-sized and crudely modeled ceramic sculptures, towering red dripping sculptures that look like some sort of giant animal's tendons freshly ripped from its body, and spray - painted canvases hanging on the walls.

Though Jake Messing's huge painting looks like a crazy ad for the Foot Locker, its scale is impressive, and it wraps around a corner.

Wiley's large - scale canvases are a true delight to observe and analyze as his paintings are so visually stunning one can spend hours upon hours simply looking at the level of detail Kehinde is capable of achieving within his compositions.

With the scale of easel paintings, at a time when Abstract Expressionism had made a larger canvas canonical, they even look like studies for sculpture.

The reason it does not look like that, but is, on the contrary, utterly alive and relevant, is that Pollock had his eyes fixed on somewhere beyond «now»: he knew enough about the history of art before him to grasp the scale of newness and daring needed to make paintings that were truly revolutionary.

These plays between inside / outside, mind / body, felt / seen are explored throughout the exhibition, including in the nearby Listening to Haruki Murakami while looking at a sunset (2016), a network of squares painted in a palette of soft peach and gray acrylics, realized at the same scale.

This survey of twenty - four recent works highlights her unique compositions, including both intimate and large - scale paintings, setting the stage for a series of moral debates and speculations: who am I looking at?

The second part consists of six delicately colored pencil drawings which are designed to look like hand colored postcards and depict views of the hospitals in Germany and Austria where the T4 Euthanasia programme took place between 1939 and 1941, whilst the third part consists of five large scale oil paintings which display the insides of Nazi Gas Chambers.

The current exhibition The Big Picture presents a surprising and considered look at an alternate kind of large - scale painting.

This is partly why I work on larger works at the same time; it makes me look and paint on a different scale, which makes it harder to just become comfortable with one size and therefore disrupts the likelihood of copying what you may have done in previous works.»

From Rock founded place we might move to consider a small - scale abstract painting such as Dreams of no thing, no time (2014), the enigmatically diagrammatic steel construction Somewhere between Andromeda and Vulpecula: Sky Atlas (2014) or Fourfold sorrows (Jesus you look so sad)(2015), an impressive woven carpet connecting wall to floor.

NEW YORK — From afar, Marc Bradford's large - scale works look like abstract paintings with amazing palettes culled by a color expert.

In The Brooklyn Rail, Greg Lindquist looks at Peter Doig's new large - scale paintings, which are up until tomorrow at Gavin Brown and Michael Werner.

State University, Atlanta GA Juror Choice Award, Ninth Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ 2004 Self - Inflicted, Fe Gallery, Pittsburgh PA Flow, Sun Trust Plaza Gallery, Atlanta GA Rampant, Fe Gallery, Pittsburgh PA Painted Realities, Lamar Dodd Art Center, LaGrange GA 2003 Film / Video GA, MOCA GA, Atlanta GA Animation Impulse: Video Art and the Generated Image, Cheekwood Museum of Art, Nashville, TN Animation Extravaganza, 27th Annual Atlanta Film Festival, Atlanta, GA Juror Choice Award, Seventh Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ Looks Good on Paper, Second Edition, Spruill Gallery, Atlanta, GA 2002 Georgia Triennial, City Gallery East, Atlanta, GA Georgia Triennial, Museum of Arts and Sciences, Macon, GA 2002 Georgia Triennial, Telfair Museum of Art, Savannah, GA Georgia Triennial, Albany Museum of Art, Albany GA Wild Life: The Other Tradition, Polk Museum of Art, Lakeland FL 2001 Art and Science International Exhibition, National Gallery of Art, Beijing, China Hardware, Eyedrum, Atlanta, GA 2000 Do It, Atlanta College of Art Gallery, Atlanta, GA Cute, Georgia Museum of Art, University of Georgia, Athens, GA 1998 Boy Toys, Nexus Contemporary Art Center, Atlanta, GA Scale, Relatively Speaking, Art in General, New York, NY 1997 My Big Back Yard, Art in General, New York, NY

Looking for more subtle ways to respond to the changing political and economic landscape of India, Sheela Gowda moved away from painting into large - scale installation work in the early 1990s.

A look behind the scenes at how Hockney and his studio team prepare for exhibitions using scale models of the spaces in question — in this case, the staircase at Tate Britain, where a selection of Hockney's landscape paintings were hung to complement an exhibition of Turner watercolours that the artist curated in 2007.

Ena Swansea @ Ben Brown These large scale paintings have fantastic depth to them, whether we're looking through trees or at marching soldiers.

Featuring works from the 1950s to the present, the show takes a look at his studies in oil, his large - scale paintings, his collages and cut - outs in an impressive display of colour, scale and immense skill.

This survey looks at work created over the past 20 years, including large - scale paintings and new sculptures, which were made specifically for this show.

Another highlight is the large - scale painting I am not ready... by Li Shurui from her «Light» series works that reproduce the look and feel of light in different environments, from arctic landscapes to nightclub, also in a screening room features a wide range of new video works, including Huang Ran's Blithe Tragedy and Fang Lu's Lovers Are Artists (Part One).

Jackson Pollock's room looks particularly vibrant and healthy, as does Barnett Newman's masterpiece Vir Heroicus Sublimis (1950 - 1951), (one of the few paintings that works with the scale of the building).

I Love You with My Ford (1961), Look Alive (Blue Feet, Look Alive)(1961), Tube (1962), and Morning Sun (1963) are included in The Popular Image Exhibition, a large - scale compendium of Pop and Fluxus art curated by Alice Denney, at the Washington Gallery of Modern Art, Washington, D.C. Rosenquist's painting Vestigial Appendage (1962) is included in the group exhibition De A à Z 1963: 31 peintres americains choisis par The Art Institute of Chicago, one of the first European exhibitions to include his work, presented at the Centre Culturel Américain, Paris.

Dunham «s surrealistic play with the images that emerge in the grain the longer one looks, is repeated on larger scale in his paintings.

He explored these possibilities by creating large - scale paintings thwarting expectations and academic assumptions on what a painting should look like, be about, and do.

Zawadski's four colored solids in painted concrete are at just the right scale so they flicker between looking like minimalist abstractions and Oldenburgian children's blocks.

Contributed by Rob Kaiser - Schatzlein / The four paintings I looked at in Daniel Kingery «s Bronx studio are all medium - sized, human scale.

Intimately scaled sea and sky paintings in her signature hyper - realist painting style are pure, absolute, and timeless beings that make no demands on the viewer other than to look and feel.