Sentences with phrase «scale paintings such»

She seems to have found her groove again by the 1990s, focusing more on pure design and color with large - scale paintings such as «Yellow Trees,» black - and - white dot paintings like «Revived Soul» and the green and black patterned «Weeds.»

There were some outstanding works in that travelling exhibition, particularly the large - scale paintings such as Scenes from The Passion: The Cop Shop, 2000, and Ash Wednesday, 2004 - 5, particularly striking for their use of sickly, sulphuric yellow.

The vast open space and in its «raw» form is a terrific venue for large - scale paintings such as Schapiro's, and is a gallery to watch in the future just as the Newtown Lane venue is on the list when gallery - goers are in East Hampton.

Large - scale paintings such as Partitions (1971) and Roman XI (1981) feature Tworkov's gestures confined to complex shapes and guided by lines or grids.

Not exact matches

In great periods of painting, such as the Renaissance in Europe, the wealthy who could afford to hire artists often subsidized major religious works as appropriate to the scale of their own palaces and as gifts to religious institutions.

Madeleine Grynsztejn, the Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA, who is organizing the Tuttle retrospective there, reflects that Tuttle's courage in scale and willful choice of ephemeral material influenced many younger artists, such as Tom Friedman, Jessica Stockholder, Polly Apfelbaum, Jim Hodges, Tony Feher, and Sarah Sze.

[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.

This group exhibition includes a diverse range of materials and medias, such as: painting, photo, video, ceramics, and a new large - scale sculpture by New York - based, Smyrna, Georgia - born Charles Harlan.

Viewers will be able to see pieces ranging from her early paintings inspired by the use of LSD to later works such as her «What It's Like What It Is # 3» (1991), a large scale mixed media installation addressing racist stereotypes.

Painted in 1966, this majestic painting anticipates at once his large scale photo - paintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tpaintings and abstract works, such as Vierwaldstätter See (Lake Lucerne), 1969, and his monochrome Graue Bilder (Grey Paintings) from tPaintings) from the 1970s.

Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson's leading artists, of both the past and present — beginning with monumental works such as one of Dan Graham's large - scale glass - and - steel pavilions, entitled Two Vs Entrance - Way (2016), which reflects and refracts visitors and its Brutalist architectural surroundings.

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.

Wylie's bold, large - scale figurative paintings draw on ancient and folk art, such as Mexican street art and contemporary Egyptian Hajj painting, as well as art history and film.

Indeed, with her adeptness at luring viewers with captivating (and seemingly innocuous) hand - painted illustrations, humorous texts, and sheer scale and then surprising them with content that is remarkably honest — by turns subversively friendly or bitingly critical and addressing such fraught subjects as power dynamics, social marginalization, and even the machinations of the art world — she has smartly aligned herself with the enduring and boundary - pushing strategies of satire, parody, and caricature.

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.

This will be only the second presentation of such scale, featuring the works of this grand master of figural painting, to be held in Europe (the first was held at London's Whitechapel Gallery in 2010).

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

From such monuments, it takes a moment to adjust to the small scale of Hodgkin's paintings themselves, hung very far apart on walls dramatically painted eau de nit, mailbag grey and mustard yellow, at Tate Britain's sweeping main galleries.

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.

He previously depicted food items in pieces such as Pumpkin Sculpture (1998) and the large - scale, cartoonish sculpture Hot Dog Man (2011), and his use of found objects (like the jars and bottles in the «Spill Paintings») started with My Empire (2011), a 6 - foot - tall assemblage of detritus that came from cleaning out his office.

This exhibition will include large and medium - scale works on paper: in Gallery one, primarily large watercolor paintings of Clements» year in her kitchen, such as «Peonies», «Chrysanthemums,» and «Hyacinth, Camellia, and Sugar Egg.»

The paintings» imposing scale and bleak depictions of a countenance in turmoil makes sense in such inauspicious times as these.

By layering unexpected materials such as buttons, embroidery and paint mixed with sand, Owens works with collage, silk - screening, drop shadows, and digital manipulation to produce large - scale paintings.

Hugo McCloud (b1980, Palo Alto, California) is known for his large - scale abstract paintings that use materials such as tar paper and metal, and engage with traditional woodblock printing techniques.

Oscar Murillo's large - scale paintings imply action, performance, and chaos, but are in fact methodically composed of rough - hewn, stitched canvases that often incorporate fragments of text as well as studio debris such as dirt and dust.

These paintings, all created on a grand scale, also create a visual dialogue among such widespread references as Dada, Surrealism, and early Russian theater.

Through key examples of paintings, drawings, large - scale sculpture, graffiti, and products such as toys and apparel, this exhibition aims to reveal critical aspects of his formal, conceptual, and collaborative developments.

Displaying key works such as Robert Rauschenberg's Barge (1962 — 63) and Mark Rothko's Untitled (1952 — 53), as well as an extraordinary group of large - scale paintings by Anselm Kiefer transcendently juxtaposed with Joseph Beuys» Lightning with a Stag in its Glare (1958 — 85), Bilbao plays its most powerful trump card: scale.

In the 1950s he began producing large numbers of stabiles — large - scale constructions made from cut and painted metal sheets — and simultaneously explored new forms such as Towers (wall - based wire constructions with moving elements) and Gongs (sound - producing metal pieces).

Throughout his career, Korine has also channeled his psychologically jarring yet comedic visions into other mediums such as books, photographs, drawings, and since 2014 large - scale paintings exhibited at Gagosian Gallery.

Informed and inspired by nature, his paintings explore pattern ranging from the scales of fish to the flight patterns of birds, as well as derivations of pattern from nature into common, everyday applications such as wallpaper and fabric designs.

This Gallery allowed for an expanded exhibition schedule and provided facilities for large - scale works and dramatic installations, such as Peter Halley's explosive hanging of paintings and wallpaper, Marc Quinn's complete series of carved marble statues of persons with missing limbs, monumental sculpture by James Lee Byars, and, most importantly, a four - channel DVD installation by Barbara Kruger.

Cy Twombly's highly celebrated large - scale paintings incorporate abstract, expressive ingredients, including his signature scrawled and scribbled lines, cheeky representational elements, such as penises, and textual components, e.g. passages from the poetry of Rainer Maria Rilke.

This exhibition will feature paintings ranging from small to very large - scale, and a selection of sculpture meticulously carved from elemental materials such as graphite, pewter and salt.

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

Points to ponder: both paintings are large in scale (yet organized around a center), make full use of the available canvas and were executed in such a way that texture and perceived depth play prominent roles.

As such, Burckhardt's paintings occupy more visual space than their modest scale might otherwise allow.

Artists such as Nevelson and David Smith became known for large - scale outdoor sculptures and public art, while Aaron Siskind sought to capture the same kind of energy and movement in his photography that Pollock was attempting to evoke through action painting.

Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly — who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics — Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring.

Some parts of her paintings are comprised of patterns created and printed by the artist herself, such as fish scales and wood grain, or appropriated from existing materials, the stripes in bedding and in the webbing from a lawn chair, for example.

However, this exhibition aims to illuminate both the positive and negative aspects of evolution through a variety of media such as immersive video, large - scale painting, sculpture and installation by artists including Doug Aitken, Andreas Gursky, Patrick Bernatchez and Tom Sachs.

The huge scale evokes the sublimity of the ocean; the subject of many paintings such as Théodore Géricault's Raft of Medusa, where human life is shown abandoned to its fate on a sea that is both terrifying, as well as a thing of great beauty.

Since 2004, Wade Guyton, started to create large - scale paintings with digital technologies such as iPhones, scanners and printers.

In the spacious galleries on the ground floor the artist presents carefully staged settings of larger than life - sized sculptures, such as mock - ups of an ancient olive tree or of a fireplace with mantle, as well as large - scale paintings.

There will be a large scale of works, such as a 4 - meter height huge sculpture, around 8 - meter height drawing, and his first attempt - a series of paintings.

The paintings, sculptures, photographs, drawings and videos focus on ordinary objects, such as a brown paper lunch bag, a pink eraser or a 2 - ply, white garbage bag, which are transformed by the artists, who employ unexpected materials or play with scale.

Inspired by work such as Marlene Dumas» «Chlorosis» and the Terracotta Warriors of Xi'an, China, Bassel uses the traditional genre of portraiture in conjunction with the obscurity of a crowd to allow a sense of intimacy to unfold, even within the monumental scale of her painting.

The works in the exhibition range from paintings marked by «water stains» resembling the patina of vintage photographs to Foulkes» tableaux paintings, which are constructed on a massive scale, exhaustingly carved into with a sandblaster, collaged with plaster, paint, and found objects (such as two Coke cans, an American flag, and a tree branch in «Lost Horizon,» 1991).

The title Composer is deliberately intended to highlight the aesthetic and essential qualities of painting such as shape, scale, texture and color and their organization by composition.