Sentences with phrase «shaped canvases which»

In the relentless pursuit of an adventurous dialogue between hue and geometry, Noland experimented with a number of different formats, ranging from his iconic circles to shaped canvases which are reminiscent of Ellsworth Kelly's shaped monochromatic canvases.

This applies to even the oldest series he ever painted — in it, Joe created anthropomorphized shaped canvases which evoke the work of Ellsworth Kelly or Blinky Palermo and resembles running figures.

For his «Sluice» project, Henry Dean, professor of foundation studies, designed shaped canvases which he installed on tripods for two months in the marshes of Port Royal Sound.

In 1968 I had been doing my own aggressively shaped canvases which projected from 2D to 3D, influenced not by Noland but by Richard Smith... of whom I wrote — «The final step in the development of what are now amongst the best paintings being made, was the increasing use of three dimensional frontal depth perspective, which allowed the colour to take its place in the surface, which could be shaped and bent in perspective and geometry.

Not exact matches

The back panel is also slightly slanted towards the upper and lower edges, which gives the Canvas A116 a very curvy shape.

They were eccentric shaped canvases made out of doors and still wall based, but breaking out of the rectangle... Everything about Braque was the antithesis of good painting, which was loose - limbed, open and daring.

As noted by curator George Kinghorn, in his introduction to Freeman's current exhibition Three Chords, the «forms that inhabit these canvases (several of which are elegantly shaped) create dynamic interactions — the hard - edged thickened lines quiver, rotate, stretch and sag.»

Untitled (Golden Yellow) Acrylic on canvas, 72 x 60 inches Ian Hughes October 9 — November 8, 2014 Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own.

Each canvas began with a grounding field of fluorescent pink, down which Howard methodically dragged strips of deep Alizarin Crimson oil paint, using a T - square to shape the precise edges.

In Untitled (Pepsi Shape), 2017, the canvas is carved up into contrasting areas, which are roughly painted with acrylic.

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.

Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges.

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.

In the early - to - mid»60s he constructed nearly human - sized, egg - shaped canvases, monochromes, which he painted in a heavy impasto the colors of Easter eggs, poking and jabbing lots of holes on their surfaces in all - over fashion, à la Pollock, as in Concetto Spaziale, La Fine de Dio (Spatial Concept, the End of God).

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).

A selection of Castellani's large - scale shaped relief canvases, Superfici bianche (White Surfaces), are presented in juxtaposition with recent angular metallic paintings titled Biangolare cromato (Bi-angular Chrome) and Angolare cromato (Angular Chrome), the latter of which Castellani installs in corners.

Abts describes an additive process in which she begins each piece by thinly painting brightly colored shapes on the primed canvas.

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.

Punctuating the monochromatic white and silver artworks are two early red shaped canvases: Superficie rossa n. 8 (1966) and Superficie angolare rossa (1961), both of which decidedly announce Castellani's break with the trajectory of painting to that point by rupturing the rectangular or square format.

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.

Once these have dried (which can take up to two weeks), Otero peels the oil paint off their surfaces with a set of «blades», then adheres their buckled compositions onto canvas, amending their broken surfaces with additional painted gestures, shapes and letters.

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.

The automatism and subversion of Surrealism played a vital role in shaping the highly intuitive style of Abstract Expressionism, particular in reference to «action painting,» which challenged conventions of brush - to - canvas painting in both practice and theory.

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.

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.

One of his strategies is to alter the shape of his canvases by carving the edges of his frames into undulating curves, around which he wraps linen painting surfaces.

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.

Vicente's palette lightened in the»50s and»60s, with canvases like «N» from 1959, which includes passages of electric green, orange and yellow, or «Princeton No. 5» from 1966, with its vaguely biomorphic collagelike shapes vibrating in a bright field.

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.

[18] His works are often composed of a juxtaposition of shaped canvases, which he bolts together into an integral form.

During the next two decades, he produced extremely irregular and asymmetrical shaped canvases, which resulted in ever more multiplex structures of highly refined and controlled color and surface integrity.

This exhibition, which celebrated the fifty years of the original Guggenheim show, places Hinman among the fathers of the shaped canvas movement alongside artists such as Lucio Fontana, Kenneth Noland, Frank Stella and Tom Wesselmann.

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

An early proponent of shaped canvases in the 50s, Ed Clark began using a large push - broom to push paint across the surface of the canvas in the 60s, creating subtly blended and thickly textured stripes of paint such as those in Yucatan Beige (1976), in which the stripes traverse beyond the central ellipse.

The artist breaks away such divisions and focuses on the creation of the minimal abstract objects — wall - mounted reliefs from foam shapes, which Adian beforehand covers with oil enamel or spray painted canvas.

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.

There is nothing moody about their silvery, reflective surfaces or about the dazzling logic with which the bands of aluminum paint jog in and out in response to the discreetly shaped canvases, which have cutaway notches and squares at their corners, sides and centers.

The bottom of each canvas is coloured by dark blue ink that has been absorbed upwards to create organic, corallike shapes, above which wispy tendrils of blue reach yet higher.

Visits to the Virginia landscape would be the catalyst for his transformation of childhood memories into a metaphorical language of symbols and forms that constitute his inner vision, portrayed in lush, jewel - like tones that bring a new sense of sunlight to the artits's work.The chromatic brilliance of From a High Place, and the manner in which the linear shapes have dissolved into the atmosphere of the canvas is reminiscent of Kandinsky.»

A hands - on painter, she works intuitively, freely applying vigorous flurries of added or taken away, a self - imposed game explored through shapes, marks and colors, which organize the space of the canvas.

The sinuous shapes and undulating lines criss - crossing the canvas appear simultaneously flat and 3D, inviting closer inspection, which in turn reveals the workings and reworking of her intuitive method.

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.

In the early 1980s, he produced his first «Metal Works,» in which he shaped canvases and cut metal to create abstract three - dimensional images.

Continuing where Pace Gallery's 2011 exhibition Elizabeth Murray: Painting in the «70s left off, Elizabeth Murray: Painting in the «80s explores another critical decade in the artist's career, the decade during which Murray began painting her iconic shaped canvases.

-- then there's a warmer, more intimate feel to the complementary show of later work in Almine Rech's newly - opened basement space, All include the face, such as this mother and baby study, which flowed into a shaped canvas of 1979 - 91.

There is a distinctive grid, irregular and rounded, that appears when you tilt a canvas with a dripping swath of paint on it along one axis and then across it... The other form taken is the hidden pour, in which the force of the falling paint removes evidence of the human hand from the application, leaving the viewer to wonder how the shapes got there.»

The catalogue for Luxembourg & Dayan's toothsome summer group show, «The Shaped Canvas, Revisited,» which closed last month, just landed in the office, and it is a beauty.It comes in an elegant square box, which opens to reveal almost... Read More

'» 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.

Humphrey's artistic style went through several phases and developments, which can be roughly outlined in the following way: monochromes from 1957 — 60; frame paintings 1961 — 65; shaped canvases 1967 — 70; constructed paintings 1971 — 1990.

It's 20 (but actually 23) canvasses, most of which are 54 x 72 1/2 inches in size, of different varieties of seamless paper, on which screen shapes are outlined with wide strokes, one «screen» on each canvas, with an even brush line on the inside of the stroke and an uneven brush line on the outside of the stroke.