Sentences with phrase «small paintings hung»

Combining large and small paintings hung variously along the walls of the 1600 - square - foot cube, the exhibition ignores genres altogether.

A small painting hangs on a yellow patterned wall.

There is a gigantic landscape mural on the wall, and smaller paintings hung on top of this mural.

I have a small painting hanging up of a house on a hill with lots of yellow roses.

Not exact matches

Remind yourself that small holes can always be patched up later on, and allow your child to hang plenty of pictures and posters on the freshly - painted walls.

My favorite is my daughter's first Christmas ornament... a sweet pair of small porcelain hand painted, pastel baby shoes hanging from a pretty ribbon.

The triangles are painted with geometric shapes in red yellow black and orange and the smaller triangles have a row of small round black beads hanging below them.

And everyone wrote something on paper harts that were hanged in a small,, tree,, (that original was brown, but my father in law had painted it three times because we have everything white!)

We painted the fireplace opening surround with charcoal chalk paint to match the canister lights on the ceiling, and I painted a big letter «N» that I've had hanging around here for years with the same paint, as well as a small shelf so that a few things match.

The installations, hidden underground beneath heavy metal doors in abandoned maintenance vaults, include a tiny kitchen, complete with cooking utensils and a wall clock; a bathroom, featuring a shower and hanging towel; and a small hallway with patterned wallpaper, a small painting, and a hanging hat.

Small paintings of fires are plastered upon images of the trees, whereas a Gothic arch encasing plasticine babies hangs over the marine setting.

Much wood collage art is considerably smaller in scale, framed and hung as a painting would be.

From such monuments, it takes a moment to adjust to the small scale of Hodgkin's paintings themselves, hung very far apart on walls dramatically painted eau de nit, mailbag grey and mustard yellow, at Tate Britain's sweeping main galleries.

Painted in 1990, only two years before she died at the age of 34, it is balanced on a small tree trunk, rather than hanging on the wall.

Dunham says the show, in the Xcel Energy Gallery, was arranged so that larger pieces were given more space so viewers could take them in from a greater distance, while smaller paintings were hung in the hall.

It showed a woman trying to hang a small flower picture next to a giant blackish abstract painting, with her husband looking on quizzically.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

I had acquired a small flower painting from a friend of ours, John MacClelland, and tried to hang it in the same room with Reinhardt's paintings.

Partial panorama of the installation, with work by Emily Berger on the left, Mira Schor on the right, and Sarah Hinckley on either side of the doorway leading to the small gallery where my paintings are hung

Fairly simple work, but a few unexpected shifts in scale help; check out the tiny lamp on a table, and a photograph of a small red and white painting hanging over a red and white bed.

Twenty - one large paintings on newspaper, containing hundreds of small images, hung salon - style on the gallery's thirty - foot back wall.

Unexpectedly, Richard Dadd's 1855 - 64 painting The Fairy Feller's Master Stroke, a small window into the patricidal Dadd's mental turmoil, hangs alone on one wall.

Sometimes there are arresting juxtapositions — a small 1943 still life of a gnarly shell and a pot by Giorgio Morandi, hung between two late Philip Guston paintings which might be taken as still - lifes as much as occurrences in a brooding wasteland — but the sheer number of works sweeps you along too swiftly to take much account of the niceties.

In these playful, environmental works, such as spinach and banana (2013), Estna arranges her paintings in various positions, tilting them against walls, hanging them, and placing them on their sides; she often extends patterns to fabrics heaped on the floor and small spheres placed on pedestals, or drills holes into canvases so that light shines through them.

How to Disappear Completely, Oren Eliav's first solo exhibition in the Israel Museum is a fascinating artistic journey in the footsteps of a small and strange 15th - century painting, hanging in the core of the exhibition.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

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.

His recent show at the Fondation Beyeler (now at the Louisiana Museum of Modern Art, Humlebæk; until 16 August) hung alongside a major Gauguin exhibition; a mid-career retrospective at the Tate — an accolade for any artist — was accorded him in 2008 when he was still in his 40s; and during this year's Venice Biennale he will show a selection of new works which he summarises laconically as: «Five or six large paintings and quite a number of smaller paintings: some cityscapes, some walls, some figures, some animals.»

Both presenting new canvases and working on a large scale — the smallest painting in the exhibition is 6 feet tall — the two artists» paintings are hung alternating around the gallery space.

The second half of the show has small paintings (and photos thereof) in the dandyish mode in vogue at the moment — Tim Eastman's swaths of linen adorned with sketchy flowers, Alissa McKendrick's pale mint and peach abstractions (hung next to a wall drawing of a small cat made with faint paint) and Cliff Borress's photographs of abstract paintings in plushly appointed rooms.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Victor Ehikhamenor has filled the ground floor with an installation that features canvas - covered walls coated with painted patterns and shapes, as well as mirrors and small bronze sculptures that hang from the ceiling.

«This painting called to me — first drawing me into the small room where it hung, then speaking to me of stillness, isolation, and time.

Hatton tells Landi: «I consider the small ones complex little worlds where there's enough information for me to crawl in there psychologically... To some degree, my paintings are all environments that can pull you in and you can hang out inside these worlds and have a great visual experience.»

The subject matter varies for developing different skills, and in the end you have fifty attractive small paintings that can hang together as an ensemble, hung in separate groupings, or shared with lucky friends and family.

It is clearly too small for that space; a larger landscape painting had hung there previously.

Hanging with the Jonah works is a small painting unlike anything else in the show: it hints at what the story means to Mr. Dawson.

«Exemplary of [The Chicago Effect: Redefining the Middle's] strengths is a brief interlude in the middle of the main gallery marked by a stripe of grey paint that hangs on the walls and floor between two halves of the white cube... Isolated Fictions: A Reenactment, as the sub-show is titled, presents a provocative case study in the generative possibilities between art schools, small galleries, art centers, and other «middle men» of the art economy.»

On it hung three paintings of naked young women spreadeagled and painted from life, while on the reverse of the structure were several gloopy small paintings depicting the muddy spring at the source of the Thames.

For example, If T.S. Eliot's «Prufrock» were to hang art on his perfectly appointed, four square walls, it would be Monzon's small, yet elegantly spare paintings that would surely give him, as it does us, pause.»

In this exhibition, three larger oil paintings were combined with seven collages, a hanging fabric piece, and two small MDF

Incorporating elements of both painting and sculpture, Chun's Aggregations are assemblages: freestanding and wall - hung amalgamations of small, triangular forms wrapped in antique mulberry paper, often tinted with teas or pigment.

This sparingly hung exhibition, including over seventy works, is the largest gathering to - date of Connecticut born artist Maureen Gallace's (b. 1960) small - scale paintings.

A brand new painting by Whitney will hang alongside smaller gouache works.

A site - specific installation, the exhibition includes two wall - and eye - filling paintings hanging opposite one another surrounded by twenty - one small paintings on wood panels.

They are smaller paintings (24 X 36 inches), but hung in a row on one wall they make a big statement.

Ms. Herrera, who has shoulder - length white hair and wire - rim glasses and was wearing a black cardigan sweater, held up a small, rectangular piece of painted vellum and compared it to the larger version of the same work, one done on paper, which was hanging on the wall of her large, floor - through home and studio on East 19th Street.

Abba Cudney's monotypes and small paintings of interior spaces hung just through the storefront entrance.

Like her earlier large paintings these small paintings evoke a sense of impending doom, by suggesting that there is more outside the picture - like a cliff hanger in a movie trailer that creates suspense by gesturing toward what is yet to come.

In another small gallery hang sweet and deft paintings by Ms. Corrigan that look as if made by a hillbilly savant with an M.F.A. degree.