Sentences with phrase «shaped canvas series»

Considered one of the founders of the hard - edge style of minimalist art, Leon Polk Smith (1906 — 1996) rose to prominence in the late 1950s and early 1960s with his distinctive shaped canvas series.

Considered one of the founders of the hard - edge style of abstract art, Leon Polk Smith rose to prominence in the 1960s with his distinctive shaped canvas series — the «Correspondences» and the «Constellations».

This volume highlights the work of American artist Leon Polk Smith (1906 — 96), one of the founders of the hard - edge style of minimalist art, who rose to prominence in the late 1950s and early 1960s with his distinctive shaped canvas series.

Not exact matches

In the photography series, Vegetable Canvas, the duo delicately treats vegetables as real canvases, using colour as an expression of different forms and shapes.

In the larger of the rooms was a series of ink paintings on cracked ceramic canvases shaped as life - sized banana leafs.

That year, Stella also exhibited a series of 30 - year - old sketchings he made in Spain in the early 1960s that disclosed how he worked out ideas about shaped canvases.

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.»

Other compositions in this series feature an assortment of shapes — including Xs and ziggurats — all pressed against the edges of the square and rectangular canvases and all similarly striped with such colors as goldenrod and cool green.

Murray introduced her first serious series of thickly painted, shaped canvases in the late «70s.

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.

This is not, however, to say that there is no visible progression in Poliakoff's work, for the series of four canvases on the main wall, each titled Composition abstraite (1968) and each linked by a recurring claw - like shape, are undoubtedly the most accomplished of the show.

In the ICA's upper galleries, a series of shaped white monochrome canvases will be shown.

The earliest examples — the Aluminium Paintings (1960) and Copper Paintings (1960 - 1961), were followed by works that extended the concept of the shaped canvas, including the Irregular Polygon canvases (1965 - 67) and the later Protractor series (1967 - 71).

Puns abound in his paintings: in his «Cover Letter» series (2010), a piece of felt in the shape of a lowercase «a» hangs over a stretched canvas.

Sydney Ball, Infinex Lumina # 6, 2010 Acrylic on canvas 65 x 102 inches April 7 - 24, 2011 The Infinex Series The works are an orchestration of individual shapes that are related to each other in various combinations in a contemporary context.

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.

In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes's latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self - confidently assert their own presence, yet begin to move beyond an earlier, more matter - of - fact reliance on organic and visceral associations.

The Irregular Polygon canvases and Protractor series further extended the concept of the shaped canvas.

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.

Titled the «Wooster» series for the location of this revelation, these geometric forms with hard edges furthered the artist's exploration of shaped canvases, formalist elements of the line, and literal as well as depicted shapes.

In increasingly complex series, Reed went on to systematically explore the function of color in defining form and structure in lattices, biomorphic shapes, and starting in 1967, shaped canvas compositions.

A series of oval - shaped canvases (1986) allude to the plagues of Egypt, while Score Card (1984) establishes an imaginary scoring system for real sexual acts, contrasting snippets of lewd language with images of high fashion models.

The «Open» series was born when Motherwell noticed the enticing «congress of shapes» created by a smaller rectangular painting leaning up against a larger canvas in his studio.

Lines / Edges: Frank Stella on Paper features a range of Stella's experiments on paper including early translations of his Black series and shaped canvases, magnificent color woodcuts and screen prints from the 1980s, and the Moby Dick Deckle Edges, an impressive nine work grouping of large - scale prints from the early 1990s based on Herman Melville's Moby Dick.

Panels and canvases adorn the walls, and these square and rectangular grids house their own series of shapes and lines.

In Un Bárbaro en las Sierras (A Barbarian in the Hills)(2015) Cambre experimented on an unstretched canvas with a series of squares and rectangles in several colors framed by bright yellow lines; he translated the arrangement into blue on another square canvas, then copied the same shapes, but in different positions and in green, for an outdoor mural in Buenos Aires, before finally rearranging them again for a brown canvas in yet another configuration.

It was through this exhibition that he first showed his «fake sculptures», a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

Running alongside the EY Late Turner exhibition until the 25th of January, this new series of paintings in the form of doughnut shaped canvases are Eliasson's response to these seven works by J.M.W. Turner.

A more recent series consisted of abstract compositions made of many unpainted canvases, stretched over irregularly shaped frames; these monochromatic works employ negative space and geometry to create abstract compositions.

In «Beyond the Black», exhibited last autumn at Victoria Miro in London, he showed a series of large canvases with snatches from Nietzsche hand - stamped in black paint, forming abstract shapes against their shimmering slate backgrounds.

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.

Stella's Irregular Polygon canvases (1965 — 67) and Protractor series (1967 — 71) further extended the concept of the shaped canvas.

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.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

The catalogue notes that and six other of his paintings in this series alter «the shape of the canvas, and reiterates that lengthened, zigzagged shape with the use of pencil - thin lines throughout.»

Highlights of the exhibition include mixed - media works from his Great American Nude and Still Life series» of the 1960s, shaped «Smoker» and «Bedroom Painting» canvases from the 1970s and «80s and his inventive cut - aluminum wall works and later «Sunset Nude» paintings, which paid homage to artists that Mr. Wesselmann admired.

Continuing to develop drawn forms, the 1990s introduced outlined geometric forms more autonomously depicted on solidly - colored, shaped canvases: Attic Series III, Study (1990) places an ellipse inside of a parallelogram; Plane Figure Series A (1993) sets two ellipses within a two - color parallelogram; and Curved Plane / Figure VIII (Study)(1995) places two ellipses within a three - color half - circle, cut off a canvas truncated on its right edge.

Soon after, he transitions to working with acrylic and pencil on masonite, outlining his geometric forms on shaped panels, such as the three half - circle canvases of & frac12; W, V, X Series (Orange, Green, Blue)(1968).

There, Pascali showed his Fake sculptures, a series of shaped - canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes.

Halina Jaworski shows her «shaped canvas» and «ancestor series» in the city gallery «Arsenał» in Poznań, Poland.

In the fall on 1965 Ronald Davis introduced a series of eight geometrically shaped, richly painted monochromatic canvases at the newly opened Nicholas Wilder Gallery in Los Angeles.

The two - part exhibition contains a series of paintings on variously shaped canvases in one room and large - scale aluminum and steel sculptures in the other.

Characterized by blurred shapes on negative space, works in the series are the result of Elrod's experiments in Photoshop, printed on canvas.

If Stella's famed black, unmodulated series of canvas works were intended to contain no meaning other than existing painted objects, Morrison's peculiarly shaped Tomb (2012) seems to revoke that formalist abstraction through its rippling drapes and stripes, implying a more complex relationship sculpture has to contemporary attitudes and responses.

Mangold works in multiple series of shaped canvases over many years, exploring variations on rings, columns, trapezoids, arches, and crosses, and compositions without centers.

Such as as his series, Ellipses and Frames, where he focused on creating works that featured round shapes on canvases that were shaped like frames.

Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons.

The shaped canvas recurs in the works of Stella's Polish Village series.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the «Smoker» series, later works are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

«Unreasonable Sized Paintings» (a term neither limited to unorthodox variations in canvas shape nor monumentally sized paintings), showing at SVA Chelsea Gallery, refers to the work of painters who, during occasional unpremeditated episodes, feel compelled to make paintings that are neither specific studies of larger or smaller paintings nor parts of particular ongoing series, but rather the byproduct of pure pleasure or the release of spontaneous thoughts that need to be concretized without limitations.