Sentences with phrase «shaped canvases featuring»

Back in the days when Mel Ramos could paint Chiquita Banana pinups, Tom Wesselmann could sex up his still lifes by putting sunburned nudes with pubic hair into them, and Allen Jones could obnoxiously use a lifelike playmate on her knees as a coffee table, Marjorie Strider was making shaped canvases featuring 3 - D breasts that were smartly violating the picture plane as if to one - up the men, who never noticed.

Not exact matches

Trademark Fine Art Edged Teal I Canvas Wall Art features minimalist and abstract floral shapes in black with gold accents against a teal backdrop.

Inside, there's also plenty of space to lounge — the sunken living room features a large, crescent - shaped sofa, as well as white walls that act like a blank canvas for the space's colorful artwork and home accents.

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.

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.

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.

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 exhibition brings together his iconic pyramid and plank - shaped canvases with his still lifes, which feature analog television monitors and controlled views of jungle and beach landscapes.

Her paintings, smartly installed at Mary Boone's Fifth Avenue location through February 25, feature symmetrically placed geometric shapes, sometimes collaged onto the surfaces of the large - scale canvases.

Her canvases featured thin veils of paint, pooled in diffuse, ethereal shapes that defied definitive interpretation.

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.

Last year, her museum acquired his 1968 painting «The Big Egg,» which features a shaped canvas, another of his innovations.

This statement applies more, if not most, to the five darker paintings stretched on canvas than it does to the two far superior pieces tacked to the wall on un-stretched canvas which feature lighter cloudlike shapes on an otherwise white background.

The rigorous geometric composition she shows here is an iconic work featuring hard - edge black - and - white semicircles, and a small half - black, half - white diamond shape at center that seems to pulsate as one approaches the canvas.

All the paintings feature repeating bands or stripes of a single color applied to canvases that start out rectangular and end up emphatically shaped, resembling big letters.

These stark canvases featuring ovoid shapes and bar - like rectilinear forms were unlike anything he had made before.

Yet, these geometric shapes and lines act as so much more than nature's physical features, but serve to anchor the canvas and ignite the warm washes of atmospheric color.»

Victor Ehikhamenor has filled the ground floor with an installation that features canvas - covered walls coated with painted patterns and shapes, as well as mirrors and small bronze sculptures that hang from the ceiling.

Now, the New Yorker gallery Luhring Augustine is showing him in a group exhibition featuring shaped canvases, alongside Blinky Palermo and Frank Stella.

'» The floating effect of the facade's relief is reminiscent of Kelly's recent relief paintings, many of which feature a shaped canvas placed on top of a rectangular or triangular canvas.

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.

Featuring eleven radiantly colored, eccentrically shaped three - dimensional canvases mostly from the 1960s, this exhibition offered something of a retrospective for the Latvian - born, New York - based artist Sven Lukin.

In «Compounding Visions,» the unique shape of the Oakes» canvas is a unique feature of their pieces.

He was one of five painters in The Shaped Canvas, the 1964 Guggenheim Museum exhibition curated by Lawrence Alloway, that helped define a key feature of 1960s abstraction.

Whimsical and abstract vistas of shapes and color give way to bubbly spouts of textual affirmation, as in If You Can (2010), a pastoral and playfully vulgar goulash that flouts the ideals of subversive art and features acrylic, gouache, and spray paint on canvas, wood panel and gourds.

Individual rooms feature 24 hard - edge abstract paintings, drawings and reliefs by Ellsworth Kelly; 18 figurative and abstract paintings by Gerhard Richter; 14 silkscreens on canvas by Andy Warhol (most from the crucial 1960s); 11 Photorealist artist portraits in various media by Chuck Close; seven Agnes Martin grid and stripe paintings (installed in a heptagon - shaped room, recalling the sublime space at the Harwood Museum in Taos, N.M., where the artist once lived); five geometrically ordered Minimalist sculptures by Carl Andre; and five monumental mixed - media paintings of a decaying German mythos by Anselm Kiefer (plus one large model airplane in lead, an emphatically heavier - than - air machine conjuring the cruel historical weight of the failed Luftwaffe and its celebrated pilot artist, Joseph Beuys).

Two other intriguing pieces both titled I Saw the 18th Century illustrate a painting represented by a wooden canvas in both cases that feature carved, circular designs and other colorful geometric shapes resting on an easel.

This exhibition features approximately 8 new paintings including a large painting of 3m 88 cm in width, «Scab on Flower,» and a painting on round shaped canvas made on a special order.

«Push and Pull» features SCAD Atlanta foundation studies professor Marcia Cohen's «Summer Reading» series of abstract compositions on shaped canvases; SCAD Atlanta painting program coordinator Tom Francis» gestural text - based paintings; and SCAD Savannah ceramics program coordinator Yves Paquette's reinterpretations of the shapes and color of antique French Sèvres porcelain in his «L'hiver bleu» series of ceramic sculptures.

[1] Sadr is known for her paintings that utilizing a palette knife on canvases to create impressionistic paintings featuring visual rhythm, movement and geometric shapes.

The exhibition features a selection of approximately 10 works including distorted new canvas piece that combine two circular forms reminiscent of scenes viewed through binoculars, and painting on pyramid - shaped canvas.

Crossings features three gloss black «Level Crossing» signs on a matt black triangular canvas, as much recalling the «Give Way» sign as it does also the shaped canvases of late Modernist abstract paintings by artists such as Kenneth Noland or Frank Stella.

On view in Newport Street's lower galleries, the works dating from 1964 to the late «60s, characteristically feature abutting quasi-geometric shapes that float freely from the canvas edge.

«Loss Prevention» features new and earlier mixed - media works defined by mood - altering hues, collage accents and shaped canvases (shown above).

This is also the case in another Untitled (2015), an Ellsworth Kelly-esque piece that features a pistachio - colored dividing line and rounded shapes in Yves Klein blue undulating across the top and bottom of the white canvas; here, miniscule drips in various hues dot the canvas, undermining the impression of minimalist mimicry.

The work is made up of long painted canvases, built in curved, three - dimensional shapes that Gorchov stacked horizontally in rows, attaching them to achieve a rounded, layered composition featuring vibrant stripes of color.

Walking into the square - shaped gallery, the viewer is surrounded by four larger - than - lifesize figures, the most shocking of which, by Summer Wheat, features a half - naked woman, presumably masturbating, with the canvas hung so that her vagina is right at eye level.

You also sense Arshile Gorky's spirit here: paintings like «Quince» (2008) and «Early in the Spring (My Attic)» (2009 - 2012) feature those biomorphic shapes, sometimes outlined in black, which distinguished the Armenian - born painter's canvases.

The 1990s through the present has witnessed the continued efflorescence in painting, as demonstrated in this show by works such as Judith Godwin's Blue, No. 11 (1997), a lyrical expression of mixed emotion, Jasmina Danowski's Tender Trap (2012), in which the artist conveys a sense of moving through an aquatic and sensuous world, Carol Hunt's Easter Morning (2011), featuring a calligraphy of line and shape that conjures archetypal signs and symbols, Katherine Parker's Behind and Above (2011), a canvas built of thin layers of paint that the artist has scraped away to convey a metaphysical awareness of the passage of time, and Susan Vecsey's Napeague Bay, Montauk (2012), in which the subtle color stained into the canvas evokes the emotion of a place remembered and deeply felt.

The latest — a bright panoply of Op Art, shaped paintings and stained canvases — features artists known, sort of and not at all, including Richard Anuszkiewicz, Alvin Loving Jr., Paul Jenkins, Julian Stanczak and Bill Komodore.

Toby Ziegler's futuristic sculptures and prints mix computer - generated shapes with hand - daubed gestures; while Philip Allen's canvases feature bright, painted circles, triangles and zig - zags on muted backgrounds, which together create a feeling of being trapped in a pinball machine.

Rappaport's roughly seven - foot paintings feature shaped canvases on which rectilinear forms intersect with and overlap each other.

Featuring paintings on canvas, wood and plywood assemblages and paper collages, the exhibition will deal with a highly complex concept of an «opened circle» and the contradiction behind it, since a circular shape is defined as one line closed without any beginning or ending.