Sentences with phrase «shaped canvas from»

This publication is the first to comprehensively trace this thread in Bartlett's practice, reproducing her newest paintings on canvas, the Blob paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 - 2010 room - size installation Recitative.

This exhibit is the first to comprehensively trace this thread in Bartlett's practice, debuting her newest paintings on canvas, the «Blob» paintings, and gathering works from three pivotal series in her career: early plate pieces from the 1970s, shaped canvases from the early 2000s, and plate pieces relating to the 2008 — 2010 room - size installation Recitative.

Color indexes and logical patterns pervade her abstract paintings, including her rule - based plate pieces, shaped canvases from the early 2000s, and the «blob paintings» from 2012 — 13.

Is it going to take us all the way back to the shaped canvases from the early 1960s?

UNBALANCED is the gallery's first solo - exhibition of works by Kenneth Noland and will focus on the American Color Field painter's iconic shaped canvases from the mid-to-late 1970s.

However, Laget then pushes it further by incorporating the extremes of color juxtapositions explored by Op Artists, such as Julian Stanczak and Richard Anuszkiewicz, to create vibrational qualities to excite the eye and add a highly retinal experience, while also leveraging the interplay of color value shifts and shaped canvases from Downing and Reed of the Washington Color School to create the sense of volume.

However, she then pushes it further by incorporating the extremes of color juxtapositions explored by Op Artists, such as Julian Stanczak and Richard Anuszkiewicz, to create vibrational qualities to excite the eye and add a retinal quality, while also utilizing the interplay of color value shifts and shaped canvases from Downing and Reed of the Washington Color School to create the illusion of volume and three - dimensional space.

Not exact matches

Shape the shoulder with a free - floating canvas panel called a shield, made from traditional, nonfusible hair canvas or hymo, and secured only at the roll line with hand stitches, as shown, and machine - stitched at the armhole seam allowance when the sleeve header is attached.

Wow, right now all I can see is a black canvas adoring you in all ways and if we see some body - beautifying dresses than what about considering flattering maxi, so it is slightly sleeker to give a beautiful shape gliding from sandy days to shiny nights.

Though the standard tube - shaped retriever dummy, made from rubber or canvas is still popular, new types of retrieving devices are now available in a variety of shapes, colors, sizes, and functions.

American artist Mary Heilmann's (b. 1940) career spans five decades, from her early geometric paintings made in the 1970s to her recent shaped canvases in day - glo colours.

The young Brooklyn - based artist presents a new group of paintings made from sheets of plywood that she cuts into organic shapes and covers in canvas, from an ongoing series she's dubbed «cut outs.»

Composed from amateur footage taken by Abraham Zapruder and subsequently published in Life magazine, Laing's shaped - canvas painting highlights the international fascination with America's cultural revolution and the ways in which it could shift the political landscape.

From the «modular» shaped canvases of pristine color fields tapped from the minimal canon, to rudimentary line drawings on found cardboard and post-its, to saturated, unprimed canvases, unceremoniously stitched together, Bradley's evocations of exalted and disposable culture lend equivalency to the discrete elements as they champion the materials of their makFrom the «modular» shaped canvases of pristine color fields tapped from the minimal canon, to rudimentary line drawings on found cardboard and post-its, to saturated, unprimed canvases, unceremoniously stitched together, Bradley's evocations of exalted and disposable culture lend equivalency to the discrete elements as they champion the materials of their makfrom the minimal canon, to rudimentary line drawings on found cardboard and post-its, to saturated, unprimed canvases, unceremoniously stitched together, Bradley's evocations of exalted and disposable culture lend equivalency to the discrete elements as they champion the materials of their making.

To grant pure abstraction its utmost wish is to say that it is a painting in the same way a table is a table — there is nothing to it apart from that formation of shapes and colours on canvas or board.

This array is a development from KAWS» exhibition at Kaikai Kiki Gallery earlier this year, where that melange of shadowy body parts is endlessly abstracted by their shaped canvases here.

The shaped canvas brought Kelly back to invention and further from the Minimalists than he had ever been.

Winters depicts forms inspired by mathematical concepts like tessellations and knot theory, as well as shapes from the natural and scientific worlds in these new canvases.

The foregrounds of the 1960s works, strongly represented in «Power Stations», characteristically feature abutting quasi-geometric shapes that float freely from the canvas edge.

The works from 1967 to 1971 feature acrylic on mylar and canvas and feature both subtle and more obvious female symbols — Keyhole and Side OX feature distinct hole shapes, while the disjointed geometric forms in Horizontal Woman No. 2 may only reveal a woman to viewers upon a close look.

Still, poured paint from Carolanna Parlato, shaped by tilting the canvas, and hard edges by Halsey Hathaway, made with an atomizer, had me wondering that they pulled it off.

A young New York city artist who is just getting started, Josh Sperling learned the ropes of woodwork from his carpenter father and now makes shaped canvases by carving up wooden components and then stretching them with canvas.

This series of paintings that illustrate this interview are from a 2005 exhibition at Locks Gallery featuring pairs of oil paintings on polygonal - shaped canvases and diptychs of her iconic baked enamel steel plate paintings.

Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4 - 21, 2010 The following extract is taken from «Sydney Ball: prophet of abstraction» by Wendy Walker, Sydney Ball: The Colour Paintings 1963 — 2007, p21 The emergence at the end of the 1990s of an insistent form in Ball's paintings — reminiscent of shapes in early drawings of rock formations from his landscape works — gave rise to the asymmetrical, ragged - edged motifs in the abstract -LSB-...]

Enrico Castellani's large shaped canvas, «Superficie Bianca n. 34» — which dates from 1966 and that was shown at the Venice Biennale that same year — fetched a record # 1,853,875 ($ 2,862,383)(Est. # 400 - 600,000).

In an effort to liberate her works from the Euclidian space of wall and floor, Grosse also incorporates into her multidimensional paintings a variety of unexpected objects, including beds, clothes, balloons, shaped canvases, and soil.

In The Time Traveller, for instance, an auratic face gazes into the distance, while the shapes that emerge from the canvas offer a portal that is at once a window, a shadow or a reflection.

Contemplating the pioneering pinstriped, shaped, copper painted canvases that the still young - young artist premiered with Leo Castelli, your peripheral vision catches the whipped metal planes from the 80s Moby Dick series.

Pulling from source materials imbued with personal narratives, Eric N. Mack fashions his compositions from worn or discarded textiles, Sam Moyer combines stone countertops extracted from their domestic settings with delicately painted canvases, and Kevin Beasley drenches housedresses, t - shirts, and du - rags from a discount store near his studio in Harlem in resin to shape gestural, even painterly, slabs.

These inventions were usually formed of symmetrical bands pointing down in a V shape from the top of a square canvas, with the V sometimes cut off at the bottom.

With Diebenkorn's move to Berkeley, the illusion that we're looking down at the canvas is broken by the presence of shapes we can envisage both from above and in elevation.

The individual shaped canvases, liberated from hefty supports, are able to float above and below each other, interacting in space and with the wall, without reference to a guiding principle of the rectangle.

«Edward Clark: For the Sake of the Search,» Belleville Lake, MI: Belleville Lake Press, 1997 Feldman, Anita, «Ed Clark and the Abstract Shaped Canvas: A Memoir From Edward Clark: for the Sake of the Search, «1997 Joans, Ted, «Ed Clark and I, «From Edward Clark: for the Sake of the Search, 1997 Holg, Garret, «Ed Alert,» Chicago Sun Times, Sep 28, 1997 Robins, Corinne, «Ed Clark: The Fulfillment of a «Grand» Talent,» 1997

On view for the very first time will be Jennifer Bartlett's large - scale shaped canvas Moth (2001), an important work from a little - known period of production for the artist.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

Executed in the 1970s as an evolution of his early expressionist canvases, Jack Whitten's large - scale paintings reveal hidden geometrical shapes that emerge from an abstract surface.

One of the pioneers of Color Field Painting, Rothko's abstract arrangements of shapes, ranging from the slightly surreal biomorphic ones in his early works to the dark squares and rectangles in later years, are intended to evoke the metaphysical through viewers» communion with the canvas in a controlled setting.

Derived from the artist's «Color Key» paintings, this series of striking, shaped canvases offer different variations of four - sided forms on which the artist considers formal relationships of color, line, and shape.

From 1993 onwards Smith also returned to painting onto regular canvas supports, where the sense of internal shape was once again determined through the application of colour.

Mary Corse (b. 1945) earned acclaim in the 1960s for producing pieces ranging from shaped - canvas paintings to ingenious light works.

Since leaving London for New York in 1975, Scully has moved from colorful, plaid, shaped canvases, to narrow - striped paintings in single and multi-panels, to the present monumental, irregularly banded and constructed paintings.

Both works are constructed with rhythmic, overlapping shaped canvas planes, strings and struts, using an abstracted lexicon of forms derived from crosses, diamonds, zigzags and arcs.

In contrast to many of his contemporaries who were moving out of the studio and away from painting, Quaytman remained committed to working on canvas and to pushing the modernist idiom in a new direction with monumental shaped canvases that demonstrated his unique vision and style.

This notion coupled with illustrations from intersecting Kazmir Malevich's planar geometry helped to establish the shaped canvas as a format in its own right, one which Stella continues to exploit.

From this inspiration, biomorphic shapes are drawn on canvas with a semi-circular template, rendered in saturated color tones, and arranged into spatial abstractions.

Ranging from Abstract Expressionist gestures in the 1950s to clean - edged discrete pools of chroma on white fields in the 1960s, Dzubas then amassed dynamic shapes of dramatic coloration that exploded on a monumental scale in canvases during the 1970s and 1980s.

For them, shaped canvas arose naturally from composition within the rectangle, just as it would for Elizabeth Murray.

«Future Proof» developed from Murray's initial sculptural practice of crafting asymmetrically shaped canvases that would interact with the paint, shown in «Mystery of Light».

She first gained attention in the mid -»60s with white, shaped - canvas monochromes and light box - like constructions made from Plexiglas and fluorescent lights.