Sentences with phrase «shellac all»

ALISON ELIZABETH TAYLOR Reclamation 2013 - 2017 Wood veneer, shellac, acrylic Wall C (5 panels) forest wall - 24 ft x 7ft Wall B (3 panels) interior wall - 12 ft, 10 in.

Stacked here like blocks of ice or stones, they conjure all manner of contradictory associations: walls, igloos, Donald Judd boxes, and more unlikely, Anselm Kiefer's massive acrylic, oil, shellac, and sand painting of a serpentine structure The Fertile Crescent (2009).

Joanna Malinowska, Genre scene with a fountain, 2014, vinyl, foam, paper, plaster, shellac, tv monitor video, black and white, no sound, running time: 5 min loop, dimensions variable.

Anselm Kiefer (b. 1945) Grab des unbekannten Malers (Tomb of the Unknown Painter) titled «Grab des unbekannten Malers» (upper right) oil, emulsion, shellac and latex on canvas 52 3/4 x 90in.

Basswood, plastic, dye, flocking, and shellac - based primer, 109.2 x 25.4 x 25.4 cm.

ALISON ELIZABETH TAYLOR Shotgun Hole with Additional Vandalism, 2009 - 10 Wood veneer, oil paint, shellac 55 1/2 X 38 1/2 inches

Anselm Kiefer (b. 1945) Dem Unbekannten Maler (To the Unknown Painter) oil, emulsion, shellac, latex and straw on canvas 74 3/4 x 102 1/2 in.

He often casts his own body as the starting point for his sculptural works, which go on to include cast iron, wire, shellac, or casein and shellac on paper.

Oil, acrylic, emulsion, shellac and clay on canvas, 3 panels, each: 149 5/8 x 74 13/16 in.

Desastres de la Democracia [Disasters of Democracy], 1989 Beluga caviar, shellac, asphaltum and acrylic on canvas 60 x 48 in.

Kiefer's works incorporate materials such as straw, ash, clay, lead, and shellac.

Always comfortable with disrupting the traditional and expected approach of the unspoiled vistas within landscape painting, the new series is freely in direct opposition given its use of the problematic materials of asphalt emulsion, tar, oil, wax, powdered mineral pigments and shellac on canvas.

Anselm Kiefer, Winterwald, 2010, oil, emulsion, acrylic, shellac, ash, thorn bushes, synthetic teeth, and snakeskin on canvas in glass and steel frames, 130.5 x 227 x 14 inches, Hall Collection, Courtesy Hall Art Foundation.

Anselm Kiefer, The Fertile Crescent, 2009, acrylic, oil, shellac and sand on canvas, 130 x 374 in.

After the portrait was printed, the paper was treated with coats of shellac to achieve a stained quality.

Hand - cut aluminum, paper (covered with shellac and paint), and linoleum (Created for exhibition with Muriel Guépin Gallery)

Among Jim Dine's best early collages, and donated to the Gallery by Milly and Arne Glimcher, Shellac Orientale (1973 — 1974) reveals the artist's substantial talents as a draftsman and wonderful inventiveness as an artist.

Judy Pfaff, Beaufort Scale, 2008, 95.5 x 49 x 5.75 inches, Multiple layers of paper: Japanese, Hosho, joss, newsprint; coffee filters, magazines, origami, fishing floats, wire, shellac, dye, ink, encaustic, and acrylic Roberto Juarez was born in Chicago in 1952 to a Mexican father and a Puerto Rican mother.

Paul Insect Killer Clown, 2008 Spray Paint and Shellac on wood panel 12th to 21st September 2008 At a former bath house in King's Cross, 9 Caledonian Road, Kings Cross, N1 9DX At odds with the location and in contrast with the contrived health and voluptuousness of the classic Playboy bunny, twelve skeletal bunny -LSB-...]

After submerging the paper in a bath of shellac and alcohol to fix the soot to the paper, he brushes a solvent over the printed lines and text to gently lift the image from the soot ground and reveal the white lines.

Now the Giacometti Foundation in Paris has found new methods of restoring his plaster sculptures, many of which were damaged by being broken apart and covered in orange shellac to be cast in bronze.

Image: Dario Robleto, The First Time, the Heart (Before and during emotion, 1870), 2017 Transparent ink lithography on hand - flamed and sooted paper, dipped in bath of shellac and denatured alcohol with brushed lithotine lift on Rising Artist Bristol

Surveillance, 2011; acrylic, pencil, shellac on canvas; 30 x 48 in.

Formally, the Back series recalls Scott's earlier use of unstretched canvas, though here the ground is unstretched felt covered with layers of spray paint, shellac and rhoplex.

Characteristic of Kiefer's work is an ambitious use of materials; drawing on clay, ash, earth, lead, fabric, straw, shellac and dried flowers, as well as other non conventional matter, his encrusted canvases lie between the distinctions of painting and sculpture.

Unlike previous bodies of work, these paintings have been made sequentially, exploring the use of wax, ink and shellac in varying combinations alongside other media.

signed, titled and dated «zones of attachment Antony Gormley» 97» on the reverse shellac pigment on paper 11 x 15 1/4 in.

Acrylic, shellac, pencil, spray paint on wood.

Rock, ceramics, steel, cement, oil, acrylic, varnish, pigments, shellac, spray paint, chalk powder, epoxy, cigarette, steel

Ed Moses Vinca, 1989 Acrylic, shellac and asphaltum on canvas Unsigned; Titled and dated in ink on verso 96 x 60 inches Provenance: Illustrated in MOCA Ed Moses: A Retrospective of the Paintings and Drawings 1951 - 1996 catalogue, 1996, plate 43, page 95, exhibition tag on verso; Louver Gallery, New York, NY, tag on verso; L.A. LOUVER Inc., Venice, CA, tag on verso Estimate: $ 40,000 / $ 50,000

The show will include a series of unique etchings hand - coloured with shellac and red wine.

Oil, emulsion, acrylic, and shellac on canvas with burnt books..

-- Glue Pigment, Shellac, you said — Glue, Pigment, Shellac — three or four times.

Seated Figure was originally polished with shellac and remains in good condition apart from some fine surface cracking; these cracks temporarily developed an unidentified fungal growth when the piece was shown in 1993 under changed atmospheric conditions (Tate Gallery Conservation Files).

was originally polished with shellac and remains in good condition apart from some fine surface cracking; these cracks temporarily developed an unidentified fungal growth when the piece was shown in 1993 under changed atmospheric conditions (Tate Gallery Conservation Files).

The product designer will create several pieces using organic composites, such as waste flowers, shellac, beeswax and resin in different stages of decay.

Anselm Kiefer (b. 1945) Makulisten, Immakulisten titled «Makulisten Immakulisten» (upper edge) oil, emulsion, acrylic, shellac and burnt books on canvas 75 x 130 1/2 x 29 1/2 in.

Anselm Kiefer (b. 1945) Die Frauen der Antike (The Woman of Antiquity) oil, shellac, emulsion, sand, ashes and pastel on photographic paper laid down on paper 110 1/2 x 75in.

Fig.: Anselm Kiefer, Der Sand aus den Urnen [The Sand from the Urns], 2009, Acrylic, oil, shellac, sand and charcoal on canvas, 280 x 570 cm, © Anselm Kiefer, Photo: Charles Duprat

Robert Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 325 (plaster and shellac version illustrated)

Mary Weatherford, River, 2015, Shellac ink and river water on Gampi Torinoko 17 5/8 x 23 1/8 x 1 5/8 inches.

Asked about the materiality of her work Ranee comments: «when I do pours, or put shellac down, or spritz the painting, and come back the next day, it does not look the way I had planned.

Lot 32, «Grab des unbekannten Malers,» is a 51 - by - 66 7/8 - inch oil and shellac on canvas by Anselm Kiefer (b. 1945).

In addition to beeswax, Jodi uses iron oxide, acrylic paint, bronze and copper pigments, graphite and shellac, which she sets on fire to get controlled yet spontaneous surface affects.

He is also an abstract expressionist painter known for his tactile works with layers of tar, shellac and scrap wood.

Basswood, oak, ash, cotton, steel, plastic, dye, shellac - based primer, 50.8 x 198.1 x 86.4 cm.

Using paint, wallpaper, fabric, and shellac, the new body of work depicts majestic sailboats, landmarks, and roaring seas rendered in steely blues, sandy greens and peachy whites.

The surfaces of stretched canvases are build up with several layers of papers and each layer is fixed with a coat of clear shellac.

Oil, emulsion, acrylic, shellac, chalk, branches, wood and iron on canvas, 380 x 560 x 70 cm (149.61 x 220.47 x 27.56 in).

Both literal objectification and a remarkable reverence are inherent to this piece — the sugar pine, shellac, and fake tiger skin connote erotic desire, yet the attentive specificity suggests an elusive romanticism — a sensitive balance not commonly communicated, even in the slippery age of free love.