Sentences with phrase «shaped canvas work»

Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

Photo - realist, shaped canvas works whose draped forms echo the Old Masters he studied in Europe after Yale.

Beyond this map, shaped canvas works mimic the ubiquitous air freshener trees found in automobiles.

In creating these works, the artists used various techniques including altering the outline of the canvas, building up relief, cutting into the plane, and using materials alternate to traditional canvas as support... Shaped canvas works became popular in the 1960s as artists sought to emphasize the potential for paintings to be considered objects.

Painted in 1979, «Druid,» which is currently on view at the Whitney Museum of American Art, is one of Elizabeth's early shaped canvas works.

Reed systematically increased the complexity of his color relationships in his shaped canvas works from 1967 to 1972.

Not exact matches

An American pioneer of hard - edged shaped canvases, Charles Hinman's work received immediate global acclaim in 1964 — 1965, with work at Sidney Janis Gallery and a one - person exhibition at Richard Feigen Gallery.

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.

Intricately detailed works, with dynamic and organic shapes spiraling across the canvas, each painting is mixed media, combining the artist's use of plastics (an ironic and intentional nod to the subject matter) with paint and digital effects.

Works by painters Sam Gilliam, Ron Gorchov, and Frank Stella clarify or confuse elements of figure and ground by redefining the possibilities of the shaped canvas and how it can contain color and gesture.

She first received public recognition in New York when her richly - colored canvases holding single shapes were prominently featured in the New Image Painting exhibition at the Whitney Museum in 1968 with works by artists such as Susan Rothenberg and Joe Zucker.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

If these paintings, like all of Kelly's shaped canvases, seem simple at first sight, that's because Kelly has already done the hardest work.

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

In his work, Quaytman was an inventive dramatist with his palette who brought a sculptor's flair for form to the game of the shaped canvas.

Early in his career, his work was included in a number of significant exhibitions that defined the sphere of postwar art, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962), The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

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.

Basing his work on the interaction of colors and shapes, his practical geometry developed into an «intricate halftone technique» applicable on both on canvas and in large scale murals.

During the 1960s Kelly began working with shaped canvases.

A master of unexpectedly pleasing canvas shapes and paint application, her work brings to mind the fluid paint handling of Christopher Wool, the complex compositional arrangements of Jean - Michel Basquiat, and the aggressive surface treatments of Sterling Ruby.

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-...]

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.

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).

Rather than assembling a group of artists who are concentrating on the demise of traditional painting supports — torn, shredded or punctured canvasses, exposed stretcher bars, paintings hung backwards, oddly shaped canvases, painting as sculpture, etc... this exhibition will focus on works that address time as a subject, or are time - sensitive.

It present works in different media and formats that used found objects and geometric shapes, before she began making her visionary pencilled grids on large, square canvases.

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.

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.

Stella's work was included in several important exhibitions that defined 1960s art [citation needed], among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1965) and Systemic Painting (1966).

Unexpected Portrait (2016) is a large - scale acrylic - on - canvas painting where a long tube - shaped orange line with dark edges glides across the work defining a cartoon - like head...

However they use a wider range of colors, and are his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T - shapes.

Kelly's best - known works are his shaped canvases.

In 1960, he began introducing color into his work and using unconventionally shaped canvases to complement his compositions.

His work is associated with Geometric abstraction, Abstract Illusionism, Lyrical Abstraction, Hard - edge painting, Color field painting, Shaped canvas painting, and 3D Computer Graphics.

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.

Moran's paintings reflect an intentionally responsive working process: as she paints, the artist reacts to the material itself, shifting or rotating the canvas, reworking textures, and reconsidering the shapes and figures that emerge.

However, unlike other artists who utilize shaped canvases, Novros» work emphasizes the critical meeting point of the canvas and wall, as if his paintings are extensions of the walls themselves.

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.

The exhibition included only six works - 4 large assemblages of shaped canvases, and two cube - shaped canvases.

By 1967, Overstreet started working with shaped canvases.

Working beyond the confines of the conventional rectangle, she is known for her elaborate multi-panel paintings comprised of irregularly shaped and colorful canvases.

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

Tonico Lemos Auad, Gabriel Pionkowski and Johnny Abrahams perhaps exhibit the most direct «weaverly» tendencies but each includes the destruction of the weave simultaneous to the order it provides: Lemos Auad makes his works by actually unthreading parts of the textile to make ghostly shapes of removed threads in his screen pieces, while Pionkowski as mentioned above begins by de-threading the canvas completely.

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.

Early in his career, his work was included in a number of significant exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964 - 65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971).

Gottlieb's most effective works were his oppositions of both colors and shapes in canvases called Bursts.

He then poured paint on the back of the work and shifted the canvas to create different shapes.

Early in his career, his work was included in a number of significant exhibitions that defined the art of the postwar era, including Sixteen Americans, The Museum of Modern Art, New York, 1959; Geometric Abstraction, Whitney Museum of American Art, New York, 1962; The Shaped Canvas, Solomon R. Guggenheim Museum, New York, 1964 — 65; Systemic Painting, Solomon R. Guggenheim Museum, New York, 1966; Documenta 4, Kassel, 1968; and Structure of Color, Whitney Museum of American Art, New York, 1971.

The influence of modern masters such as Henri Matisse and Piet Mondrian can be seen in works from the 1980s, such as Matisse (1989), a white and dark blue shaped canvas with a geometric motif, and Little Mondrian (1985) and Sliding Square: Green and Gold (1975), which are made up of rectilinear forms.