Sentences with phrase «shaped painting supports»

He has worked with a wide variety of shaped painting supports, including squares, rectangles, crosses, circles, and ovals.

Not exact matches

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«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

In each painting Hippenstiel finds a different way to play off the massive shape against the delimiting edges of the support.

Although Stella's work became increasingly colorful, shaped canvasses, the literal support of his paintings became his major preoccupation.

Each work is an instance of a ripped frescoes, a technique developed by the artist in the 1980s which brings together two key moments in his paintings: a construction, based on a site, as a process for the formation of a support; and a reluctant walk (of a fake restauration) in the memory and the material history of the painting, of deconstruction, subtraction, a kind of intimate and forged archaeology, where a re-emergence of an unexpected fragment in the shape of clay, mosaics or shred (of colour or material) can become the focal point of the whole painting.

Using bright color, hard edges and shaped fiberglass supports his paintings were reminiscent of Stella's shaped canvasses.

The objectness of the shaped paintings from this period makes them always more than the working out of abstracted, biomorphic or geometric forms on a flat surface, since the form of the support itself is a biomorphic or geometric abstraction.

«V (planchette)» (2014), whose smooth aluminum surface is painted a chalky black, swerves from wide at its base to slight at its middle and swells again at its top, resembling an hourglass shape when seen from a certain angle, whereas «X» (2013), is just that, in mirrored and polished stainless steel, with its thin, shiny strips arched upwards, criss - crossing parallel to the surface of the ground, each bending under like strange feet or paws to support itself.

The basic support for paintings was rethought by artists like Ralph Humphrey (shaped canvases) and James Havard (substituted a molded plastic support for canvas).

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.

Meticulously hand - painted paper is mounted on shaped and bent aluminum supports, creating a fusion of minimalism and mexicanism that also seems utterly Marfan.

Oil and enamel on canvas mounted to four shaped wood boards joined with eight painted metal supports, 87 x 61 3/4 x 1 5/8 inches.

For the first time, he paints with no reference to the shape of the support.

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.

Inspired by the hard - edged abstraction of Frank Stella and the shaped supports of Ellsworth Kelly, Parazette builds his paintings meticulously by adding layer upon layer of acrylic until each plane of color is flawless, its edges accentuated with precise pin stripes.

«Alex Katz's importance lies, certainly, in his experimentation with the form and structure of painting — his early experiments with shaped supports were revelatory and pioneering — but just as significant is his investigation into the mechanics of perception,» explains Kelly Baum, Curator of Postwar and Contemporary Art at the Met.

Pamela Jorden stretches upholstery fabric over shaped supports; she pours, splashes, and rubs layers of transparent color over the surfaces of her paintings.

As he became more successful, Hawkins began to collage mass media images and eventually found objects into his paintings, and he developed a technique he called «puffing up» a shape: building it up from the support by mixing cornmeal into the enamel paint.

Sometimes, a reference to the real world is made: in Violent Violets Hanging from Knotted Black (2016), Tomasko paints a violet shape distantly related to the flower, while a skein of black supports it.

This year, the indie fair known for adventurous experiments in sculpture and installation is chockablock with paintings of every size, shape, and support.

First, the acrylic paint film is a soft, pliant material, in order to give the film enough rigidity to hold its shape, the acrylic sheet must be reinforced with some type of internal support.

Prominent in Michael Hakimi's exhibition «ROOF» are monumental black shapes, painted directly onto the walls of the room, supported by aluminium tubes attached to the walls at one end, and to the floor at the other.

A lot of Olitski's early, really atmospheric, disembodied color paintings had a wedge at the edge that would define the shape and size of the stretcher bar and its supports so there's no lying about space or anything.

The exhibition features artists Mark Dagley, Gabriele Evertz and Gilbert Hsiao, and is conceived around the ideas of confounding pattern, spectral color, shaped supports, and divergent painting methods.

Asked about the interaction between the image and support edge, Phillips comments: «I like that the image itself is a form... as you start to make the painting, you're given the rectangle, but that it doesn't necessarily have to live withing that arbitrary shape.

There's a natural seductiveness to the shaped supports, and the manifest process of the painting and drawing provides a distinct contrast to the physicality of their grounds.»

Yellow Piece (1966), the artist's first shaped canvas, represents Kelly's pivotal break with the rectangular support and his redefinition of painting's figure / ground relationship.

Among the dominant trends in the Post-Painterly Abstraction are Hard - Edged Painters such as Ellsworth Kelly and Frank Stella who explored relationships between tightly ruled shapes and edges, in Stella's case, between the shapes depicted on the surface and the literal shape of the support and Color - Field Painters such as Helen Frankenthaler and Morris Louis, who stained first Magna then water - based acrylic paints into unprimed canvas, exploring tactile and optical aspects of large, vivid fields of pure, open color.

For several years, Gibson has created shaped canvas paintings incorporating rawhide as support material.

They want badly to be more than paintings — see how many of the scalloped shapes lift off the support like feathers summoning flight while exposing not bare canvas but reflective Mylar — but they air that complaint in whispers, not stage screams, despite Yates» parallel practice making indie - rock posters.

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 canvasses, painting as sculpture, etc... this exhibition will focus on works that address time as a subject, or are time - sensitive.

Format is traditionally used to describe the shape or proportions of the support, for example the canvas, of a painting or other essentially flat work of art such as a relief

5 May - 7 August 2005 Galleries 1, 2 and 3 Spalletti produces work that lies between painting and sculpture, working on shaped grounds and supports with a loose and living surface of coloured pigment.

Adian's sculpture — essentially a painted canvas, stretched over a strangely shaped support — resides in the corner of the room (a favored placement for Artschwager).

By partially painting over the central shape with the same grey hue as the support of the work, background and foreground merge; each constituent part of the composition reveals and reinforces the whole.

Using a modified acrylic paint and process of application as well as a two dimensional support frequently consisting of shaped canvases, he instead creates an experience of the earth and specific location of a landscape.

The exhibition begins with a selection of early works from the 1960s in which the artist inaugurates his mode of tracing hand - drawn geometric figures within the outline of a shaped support, and continues through the 1970s, featuring examples of Mangold's Circle paintings and A Triangle Within Two Rectangles paintings.

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.

A selection of the «Black Paintings,» like The Marriage of Reason and Squalor (1959), is followed here by myriad geometric and chromatic variations of parallel stripes determined by each painting's shaped support, as in Empress of India (1965).

Parsons serves as a key example of a woman who shaped the canon through her persistent support of underrepresented artists, all while maintaining a rigorous studio practice, and while her nearly six decades of luminous paintings were exhibited and sold throughout her lifetime, they were timidly recognized by the art world.

The limitations that constitute the medium of painting - the flat surface, the shape of the support, the properties of the pigment - came to be regarded as positive factors, and were acknowledged openly.

Highlighting the gallery space through a transformation of architecture and light, Everett's installation emphasizes the physical act of supporting a painting, the routine practice an artist undertakes daily, as well as pedagogical rituals shaped through rehearsal.

Because of his nontraditional artistic background, in the 1950s Davis felt free to explore different media and surfaces of support, painting on irregularly shaped masonite, suspending gravel and rocks in oil paint, incorporating mirrors into his composition, and using pages of the phone book as the ground for his painterly explorations.

As I work, I follow detours and choose contingencies within a syntax of shapes, stripes, planes, the static of paint drips, abrasions, and stains, and trompe l'oeil supports that act like small prosthetics within the pictorial space.

Elizabeth Murray's (b. 1940, Chicago; d. 2007, Washington County, New York) work blurs the distinction between abstraction and representation, and her shaped canvases and multipart supports challenge traditional conventions of painting.

Related to but distinct from his works on canvas, Bishop's paintings on paper retain similarly monochrome palettes, while differing in their intimate scale and at times irregularly - shaped support.

After working through a series of eccentric handmade shaped canvases and a group of torqued monochromes (which I exhibited in New York, at Stephanie Theodore Gallery, following a second show with Strelow), I attempted to locate areas of surface and support that had been overlooked in painting.

We still have to drywall the end supports, and patch and paint the ceiling, but things are shaping up!