Sentences with phrase «small canvases at»

Meets Noland, Feeley and Olitski; also Clement Greenberg, who introduces him to Hans Hofmann via two small canvases at New York's Kootz Gallery.

LEE KRASNER: Although, in my Betty Parsons» show in 1951 I had a fairly large canvas in that exhibition, not quite this size but not a small canvas at all.

Not exact matches

There were pictures of women, every tribe, every tongue, on every wall, and so it felt like everyone here in the world was there with us, somehow, and a gigantic canvas on the stairs said: There is no such thing as small change, and the famous red couch at Idelette's was worn out and comfortable, especially with Kelley sprawled on it, twisting her hair unconcernedly when she really got talking about the theology of adoption and Lord, yes, that woman can preach and teach in a living room beside a piano better than some preachers I've seen in thousand - dollar suits on a television show.

small tin buckets easy to find at paint supply stores small cardboard paint buckets also at paint supply stores; paint or cover with paper chinese food boxes most craft stores have these in a variety of colors plain paper sack with a drawing or stickers on the front and tied with a ribbon or a cardstock header stapling the bag closed plastic beach buckets check the dollar store for the best price terra cotta flower pots perfect for a garden theme; the kids can paint these for a party craft too fabric or felt bags with or without a drawstring large tin cans of course, make sure the edges are not sharp mini canvas totes bought or homemade cardboard boxes such as a cereal box, cut down and covered with paper or painted; add a ribbon, string or wire handle baskets lots of inexpensive ones available at thrift stores popcorn boxes available at party supply stores Helpful Tips:

Overlapping with his first solo museum exhibition in New York, which opens at the Studio Museum in Harlem on July 16 (see below), the show includes five large canvases and a wall of dozens of small - scale studies displayed gallery style.

For West Wall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making «the wall... a kind of ready - made mural,» thus changing «every show in that space thereafter.»

Golub experimented with scale, and the works assembled for this exhibition range in size from the smaller works on paper to monumental, unstretched canvases that extended from floor to ceiling at the Serpentine Gallery.

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».

Conversely, I once saw a very small painting by Jake Berthot, a pocket - book - size picture that was a complex layering of different greys with some wonderful reds breaking through the field and also at the edges of the canvas — it seemed like I was looking at something almost infinite in its dimensions.

Taking a large - scale painting and attaching it to a smaller canvas, allows the artist to use the excess «painting» to mold at will, forming wrinkles, waves, and even unplanned imperfections that all result in the final work.

The exhibition, the artist's fourth show at the gallery, will include approximately 100 small paper mounted on canvas paintings as well as 25 collage constructions and a set of sketches in response to Francisco Goya's drawings including his Los Desastres de la Guerra series, all dating from 2009 to the present.

Maybe it's their small size — his show, «Brezales,» at Cheim & Read consists of fewer than a dozen small canvases (and two large ones)-- but they exude something that just pulls you in.

At one end of the floor, under a low, slanting ceiling, three canvases have been propped on the seats of small wooden chairs, lined up like rapt schoolchildren.

In her latest show at Blue Mountain Gallery, which opens on October 5th with a reception for the artist October 7th from 5 - 8, Margaret Grimes shows three large canvases and a series of small ones all depicting woods and thickets.

At times with smaller diptychs, the two joined canvases suggest an open book.

At the Whitney, these canvases resonate powerfully with the rest of Guyton's oeuvre, most notably his series of darker, smaller monochromatic canvases.

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.

At the Hole's booth, the gallery had installed several abstract paintings that the street artist known as Katsu had created by attaching a paint applicator to a small computer - guided drone, with the artist able to control its flight and spray paint on the canvas via a trigger.

Gallace's canvases are small, but they pack a painterly punch thanks to creamy brushwork, rich color and spare, simplified depictions of flowers, landscapes, barns, shorelines and other features of life lived close to nature — or at least, outside New York.

A small work might place a tree trunk at the center, while the networks of tree limbs, rocks, streaks of light, or ripples of water in his large paintings have much in common with the weave of a drip painting or of the canvas itself.

In 1957, shortly after accepting a teaching position at the State University of New York at New Paltz, he began to paint small canvases featuring single apples which were modeled and painterly.

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

If there was a part of this painting that bothered me, it was perhaps this small pink shape at the top edge of the canvas, sitting squarely in the middle.

Heron himself made hundreds of small gouaches, deploying a range of colours brushed on with tiny Chinese watercolour brushes - even on the 15ft canvases - originally in adjacent colour areas pushing up to a fuzzy separating edge, though later the edge became a clean break (Heron called himself at this period a «wobbly, hard - edge painter»).

The two pieces by Julie Torres are both conceptual works about capital - p Painting: «Room with a View» is a small canvas on which super-thick layers of acrylic paint make something that appears, all at once, like a window, a picture inset into photo corners, the back of a stretched canvas.

Usually, Estelle's works are larger canvases, while at other times some smaller works are on paper or cotton.

Laurel McKenzie is exhibiting a group of pigment prints on canvas in a small group exhibition (with Don Gore and David Gatiss) at Stephen McLaughlan Gallery from 14 until 31 August.

For another example (all Owens's works are Untitled), the horizon sits at the bottom of the canvas, like a small strip of sea, making way for a seemingly infinite sky.

Hung at Laurel Gitlen's Sunday booth, the display amounted to Smith's most public showing to date, and also included smaller canvases that use a vaudevillian's mustachioed, gaping mouth as the site for painterly play.

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 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.

After studying at Central St Martin's College during the 1990s, David began his artistic development with a small solo exhibition of large scale embroidered canvases at The Approach, followed shortly by an acclaimed group exhibition in 2001 at the Saatchi Gallery.

I also lingered around a personal favorite, Thomas Zipp's array of small canvases and drawings hung atop a reproduction of Pollock's The Wooden Horse: Number 10A, 1948 (at Guido Baudach).

Patrick Lakey's flatly lit blend of still life and (nude) self - portraiture, from a series in which he plays dozens of characters from the Marquis de Sade's writings, caught hold of me at The Happy Lion's booth; at Madrid's Travesia Cuatro, Gonzalo Lebrija's intimate communion between himself, wearing a red hooded sweatshirt, and the lone red canvas in a selection of On Kawara «Date Paintings» brought out the latent melancholy in any notation of time; and at Cherry and Martin, Elad Lassry's small - scale conceptual tableaux possessed at once a fierce confidence and an estranging oddness.

Its cutting, flame - like forms swirl around the left edge of the canvas threatening to envelop the smaller white form that floats at the right.

The show at Werner featured two huge inarticulate canvases of a skinny apparition dressed as a bat, plus several small landscapes, which transpose Doig's iconic canoe from northern Ontario to equatorial climes.

Among the works that did well were Lot 16, a charming small sculpture, one of three examples down in 1945 - 6, by David Smith, shown above, that sold for $ 220,000 (not including the buyer's premium) and had had a high estimate of $ 150,000; Lot 5, «Atantolone,» a gloss household paint on canvas of colored dots on a white field that sold for $ 170,000 (not including the buyer's premium), well over its high estimate of $ 120,000; Lot 14, a large 1943 painted wood and wire sculpture, «Constellation,» by Alexander Calder (1898 - 1976) that sold for $ 1,982,500 (including the buyer's premium), more than double its high estimate, and Lot 24, a larger Calder sculpture, «Trepied,» that sold near its low estimate for $ 1,542,500 (including the buyer's premium); Lot 20, a large and very interesting and abstract but not very colorful 1953 Francis Bacon (1909 - 1992), «Two Figures at a Window,» that sold above its $ 1.2 million high estimate for $ 1,542,500 (including the buyer's premium); Lot 27, «Tour III» by Brice Marden (b. 1938) that sold within its estimates for $ 1,487,500 (including the buyer's premium), tying the artist's record; Lot 41, «Grillo,» by Jean - Michel Basquiat (1960 - 1988) that sold for $ 1,102,500 (including the buyer's premium), also within its pre-sale estimates; and Lot 31, «Vierwaldstätte See,» a large black and white 1969 landscape by Gerhard Richter (b. 1932) that sold for $ 1,047,500 near its low estimate of $ 1 million.

His large sepia - toned acrylic and silkscreen 1966 portrait of Marlon Brando in a scene from «The Wild One,» Lot 12, sold well over its high estimate of $ 2 million to a private collector for $ 2,642,500 (including the buyer's premium), but a small 1962 casein and pencil on canvas of a Campbell's Chicken With Rice Soup Can painting, Lot 13, that had been estimated at $ 600,000 to $ 800,000 soared to $ 1,652,500 (including the buyer's premium, much to the consternation of the determined underbidder, a woman in a black suit, high heels and wearing large earrings, who immediately got up from her seat and left with her companion after the lot was knocked down.

Other highlights of this auction include Lot 20, «Duridium,» a 26 - by - 36 inch magna on canvas, dated 1964, by Roy Lichtenstein (1923 - 1997), estimated at $ 600,000 to $ 800,000, which sold for $ 607,500; Lot 21, «Ileana Sonnabend,» a 1963 metallic paint on canvas, 77 3/4 - by -128-inch work by Frank Stella (b. 1936) that has a high estimate of $ 600,000, and which sold for $ 684,500; Lot 29,» Evening in the Studio,» a monumental painting that out - Rubens Rubens by Lucian Freud and has an ambitious high estimate of $ 3,500,000, and which sold for only $ 2,422,500; Lot 30, «Lying Figure,» a large, interesting composition by Francis Bacon (1909 - 1992) that has an ambitious high estimate of $ 2,500,000 and is starker than his more painterly small works, and which was passed at $ 1,600,000; Lot 35, «Bedouin (Personage Gris et Rougeatre),» a great Jean Dubuffet (1901 - 1985) painting that is conservatively estimated at $ 700,000 to $ 900,000 and which sold for $ 992,500; and Lot 46, «Aux Bons Principes,» a more colorful but not as strong Dubuffet that has an ambitious high estimate of $ 3,000,000, and which sold for $ 2,202,500; and Lot 63, an untitled, large painting by Sigmar Polke (b. 1941) that has a mysterious, luminous and mystical sense of a great mountainscape by the Sung Dynasty masters of China and has a conservative high estimate of $ 300,000, and which was passed at $ 150,000.

The works that are on display at MAMbo consist of both monumental canvases which provide space for sprawling narratives of compositional complexity and smaller paintings which focus on the study of individual subjects, portraits that push the figures portrayed into the foreground, as if under a microscope.

This visual experience reminded me of looking at a roll of unprimed canvas stretched out on the floor, with small colored jewels dispersed throughout.

Some of his best works are on his smaller square canvases, including Burial at Sea, where a dark ship on fire is so expertly painted that you can almost feel the heat when you stand near it.

I work on multiple pieces at a time, with canvases ranging in size from very large to very small.

Landfield's small canvas reveals the lyrical abstractionist at his finest.

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.

The first gallery at Dia: Chelsea feels narrow, with a couple of large square canvases to the right (Untitled, 1962 and Untitled [Background Music], 1962), a triplet of works incrementing in size and respectively on canvas, paper, and plywood to the left (Untitled # 17, 1958; Classico 6, 1968; Counsel, 1983), and a small but powerful early work facing the viewer across the room, decentered (To Gertrud Mellon, 1958).

On the Edge: Judith Belzer at Morgan Lehman by Alexandra Anderson - Spivy Judith Belzer's recent paintings careen between the vertiginous grandeur of her larger, blueprint - like compositions and the close - up, increasingly flat and microscopic intimacy of her smaller canvases.

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.

The exhibition not only shows Saint Phalle's numerous shooting paintings — considered scandalous at the time — but also footage of her in action, standing before her canvases where she would plaster on small pots and bags of paint and then shoot at them mercilessly with a shotgun till they bled paint.

With the show of 35 smaller works on paper opening that evening at Lawrence Fine Art, and another show — this one of larger paintings on canvas — opening at Chase Edwards Contemporary Fine Art in Bridgehampton May 23, 2015, Zacharias was only too happy to talk about both shows, his ever - evolving process, and where he stands now in his artistic journey.