Sentences with phrase «small canvas panels»

Quite an unusual one but in 1973 Gerhard Richter held an exhibition at the Seriaal Gallery in Holland where he painted a huge version of his Rot - Blau - Gelb series on small canvas panels arranged in a 10 by 10 grid.

Not exact matches

Maybe I missed the comment, but I have a structure for larger (16 × 20 — 30 × 40) pieces on 1.5 ″ depth gallery wrap canvas and wanted to know if the same structure could apply to smaller (5 × 7 — 8 × 10) canvas panel pieces.

Yet, in both large - scale canvases and smaller works on panel, the works» spatial constraints seem only to distill and enhance the pigment.

Phillips Contemporary Art Evening Auction, Nov. 13, 2014 Lot 9: JULIE MEHRETU, «Stadia Excerpt (a small resurgence),» 2004 (ink, acrylic on canvas, laid over wood panel).

«Of Earth and Sky» includes paintings on linen canvas and on wood panel — ranging in size from 54 x 50 inches to as small as 8 x 10 inches — along with a suite of works on paper.

His recent solo exhibitions at the Museum of Contemporary Native Arts in Santa Fe, New Mexico (2012) and at Urban Shaman Contemporary Aboriginal Art in Winnipeg, Manitoba (2013) highlighted his most recent work — a striking series of small works on paper and panels and an impressive collection of large scale paintings on canvas — work he describes as «rooted in Indigenous abstraction and Modernist aesthetics».

For his exhibition Plegarias, opening Saturday, November 7, 3 — 6 p.m. Lorenzo Hurtado Segovia's work consists of small paintings on wooden panels, paper and canvas which continue the artist's Christian references inspired by ornamentation common to small Catholic chapels and matachín outfits.

The paintings are displayed on retail metal grid panels; the 3 - inch grid amplifies the smaller trellis on the canvases.

Site - specific installation overvew: 17 collaged dry - wall panels with collaged elements, canvas with torn edges, photo transfers, acrylic, text, 9 1/2 ft high at highest point; 5 bronze elements, underground cable, and 1 tall and 2 smaller broken border posts with barbed wire from the former East German Border, 5 curved broken sections from the top of the former Berlin wall

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

Smaller paintings on canvas and panel hang in diptychs, mirrored versions of each other, like rorschach tests or the two hemispheres of the mind, perfectly flawed in their symmetry.

In his debut solo exhibition at the Bermudez Projects space in Downtown Los Angeles, Sullivan offers a dozen or so paintings ranging from small to mid-size, painted either on canvas or wood panel.

The exhibition displays approximately 12 paintings ranging from small to mid-size, painted either on canvas or wood panel.

Of particular note this year is the small panel by Evertz, an example of this colorist's investigation into gray that was the subject of a breathtaking show at Minus Space.2 Landfield's small canvas reveals the lyrical abstractionist at his finest.

Terre verte also figures in two large single - panel monochrome canvases whose composition — a rectangle or square resting on a smaller rectangle — recalls Marden's early monochromes, the bottom area showing the many layers used to build up the painting.

The show can be divided into three categories of work: small canvases, large canvases, and large aluminum panels.

Gallace's small canvases and panels most commonly depict rural pastorals and coastlines that evoke nostalgic New England.

The works vary in size, from the small 16 x 12 inches canvas from 1961 whose pull cord extends down the length of the painting and dangles several inches below the picture plane, to the large, three paneled, Untitled (triptych), 1961, which features a split shade and measures 54 x 115 inches overall.

Marcia Hafif covers various surfaces: small and large wood panels, stretched canvases which reach floor to ceiling or wall to wall, and, finally, the wall itself.

From the gas blow torch involved in Bleckner's recent works; to the cement on Yektai's canvases; to the graphite at play in Matsutani's small and intimate Wave on panel; to the Puerto Rican coffee bean bags used in Bernhardt's paintings; each artist presents a use of material void of color and infused with a new interest and comfort of expression.

The variously twee and anarchic pronouncements were painted Ed Ruscha style in acrylic on small panels of stretched canvas (all works 2013), and began with cops kiss,

1931 Stanley Rose Bookshop & Gallery, Los Angeles, CA 1945 * Philip Guston, Midtown Galleries, New York 1947 Philip Guston, School of the Museum of Fine Arts, Boston, MA 1952 * Paintings 1948 - 1951 by Philip Guston, Peridot Gallery, New York 1953 Philip Guston: Paintings and Drawings, Egan Gallery, New York 1956 Recent Paintings by Philip Guston, Sidney Janis Gallery, New York 1958 Philip Guston, Sidney Janis Gallery, New York 1959 - 1960 * Recent Paintings by Philip Guston, Sidney Janis Gallery, New York 1961 New Paintings by Philip Guston, Sidney Janis Gallery, New York Philip Guston, Franz Kline, Dwan Gallery, Los Angeles 1969 * Philip Guston, Paintings and Drawings, Gertrude Kasle Gallery, Detroit, MI 1970 * Philip Guston, Recent Paintings, Marlborough Gallery, New York 1973 * Philip Guston, Major Paintings of the Sixties, Gertrude Kasle Gallery, Detroit 1974 Philip Guston, Gertude Kasle Gallery, Detroit * Philip Guston, David McKee Gallery, New York 1975 Philip Guston, Makler Gallery, Philadelphia Philip Guston: Drawings for Bill Berkson's «Enigma Variations,» Galerie Paule Anglim, San Francisco 1976 * Philip Guston: Paintings, 1975, David McKee Gallery, New York 1977 * Philip Guston: Paintings, 1976, (Part I: March 18 — April 8; Part II: April 9 — 30) David McKee Gallery, New York A Selection of Recent Works by Philip Guston, Achim Moeller Gallery, London 1978 * Philip Guston: Drawings, 1947 — 1977, David McKee Gallery, New York * Philip Guston: Major Paintings, 1975 — 76, Alan Frumkin Gallery, Chicago 1979 * Philip Guston: Paintings, 1978 — 1979, David McKee Gallery, New York 1980 A Tribute to Philip Guston: Paintings and Drawings from 1950 to 1980, David McKee Gallery, New York Philip Guston: Recent Paintings, John Berggruen Gallery, San Francisco 1981 * Philip Guston: New Lithographs, Gemini G.E.L., Los Angeles Paintings by Philip Guston, Asher - Faure Gallery, Los Angeles Philip Guston: Lithographs, Yellowstone Art Center, Billings, MT 1983 Philip Guston: Paintings, David McKee Gallery, New York Philip Guston, Riva Yares Gallery, Scottsdale, Arizona Philip Guston: Eight Lithographs, Gemini G.E.L., Los Angeles 1985 Philip Guston: Drawings, Reconnaissance Gallery, Fitzroy, Victoria, Australia: traveled to Art Gallery of New South Wales, Sydney Philip Guston: Small Works 1968 - 69, David McKee Gallery, New York 1986 Philip Guston: Works on Paper, Cava Gallery, Philadelphia 1987 * Roma 1971, David McKee Gallery, New York 1988 Philip Guston: The Late Prints, Cava Gallery, Philadelphia 1990 * Drawings from the Philip Guston and Clark Coolidge Exchange, The Berkshire Museum, MA: traveled to Galerie Lelong, New York * Philip Guston: Paintings 1961 - 65, McKee Gallery, New York 1991 Philip Guston: Drawings 1968 - 71 Hoods, McKee Gallery, New York 1995 Philip Guston, Virginia Museum of Fine Arts, Richmond, VA * Philip Guston: The Fifties, McKee Gallery, New York 1996 Philip Guston: Major Paintings from the Seventies, McKee Gallery, New York 1997 Philip Guston, Brave New World: 1943, The Woodstock Artists» Association, Woodstock, NY: traveled to McKee Gallery, New York 1998 * Philip Guston: Works on Paper, 1968 - 1980, John Berggruen Gallery, San Francisco * Philip Guston: The Last Works, Lafayette College, Easton, PA * Philip Guston: Selected Works on Paper and Canvas 1951 - 1978, Manny Silverman Gallery, Los Angeles 1999 Philip Guston: Works on Paper, Timothy Taylor Gallery, London 2000 * Philip Guston: Small Paintings and Drawings 1968 - 1980, McKee Gallery, New York 2001 - 2002 Philip Guston: The Last Prints, Timothy Taylor Gallery, London * Philip Guston, BQ Gallery, Köln, Germany 2002 Philip Guston Prints, Susan Sheehan Gallery, New York 2003 Philip Guston: Mind and Matter, McKee Gallery, New York 2004 * Philip Guston, Timothy Taylor Gallery, London 2005 Philip Guston: Abstract + Figurative, McKee Gallery, New York 2006 Philip Guston: Objects, Timothy Taylor Gallery, London * Philip Guston: Drawings, McKee Gallery, New York 2007 Guston in Grasmere: Poem - Pictures, 3W Gallery, The Wordsworth Trust, Grasmere, England Philip Guston, Aurel Scheibler, Berlin 2008 The Private Eye of Philip Guston: The Gemini Editions, Gemini G.E.L. at Joni Moisant Weyl, New York 2009 Philip Guston: 1954 - 1958, L&M Arts, New York Philip Guston: Small Oils on Panel, 1969 - 1973, McKee Gallery, New York 2010 Philip Guston: Works on Paper, Timothy Taylor Gallery, London, England 2012 * Philip Guston: Inevitable Finality, The Gemini Prints, Haggerty Museum of Art, Milwaukee, WI Philip Guston: The Late Paintings, Inverleith House, Royal Botanic Garden, Edinburgh, Scotland 2013 Philip Guston: A Centennial Exhibition, McKee Gallery, NY 2014 * Philip Guston, Aurel Scheibler Gallery, Berlin, Germany Philip Guston: Late Paintings, Peder Lund, Oslo, Norway

Now at Alexandre Gallery through April 2, in her twelfth solo exhibition at the gallery and more than fiftieth overall, Dodd is presenting twenty - three recent small - scale paintings on panel and larger paintings on canvas that focus on the passages of «Day and Night» — lyrical vignettes observed through the windows and paths of her apartment on Second Street and her Blairstown studio.

BA: I make a stretcher (or panel if the work is smaller) and stretch it with canvas, about 4 to 6 coats of gesso sanded and I'm ready to go.

After weeks of no painting, he began filling his Roman studio with a flurry of small pinkish - hued works on paper, panel, and canvas.