Sentences with phrase «small squares painted»

Each is composed of small squares painted varying gradations of hues from Goethe's color wheel and juxtaposed with those painted some other color — ultramarine in three

The exhibition continues next door at 526 West 22nd Street with an installation of thirty - six small square paintings spontaneously executed in a variety of media, as well as larger enamel on aluminum paintings, whose sleek, spare surfaces portray familiar characters from the 1995 film Toy Story.

Not exact matches

Before I go, a quick source list for you: - wall color: Barcelona Beige by Sherwin Williams - rug: Overstock.com - lamp: Homegoods - birdcage: Hobby Lobby - small square frame: Pottery Barn - large frame: family antique, but here are some suggestions if you'd like to paint a similar one - all the rest (books, box, large frame, chandelier) are antiques... sorry I don't have sources for those!

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I thought about painting a checkerboard on a small square table I'm doing, but it would be more for looks because I don't even know how to play checkers.

Small, square - frame illustrations, a gentle narrative, and a celebratory spirit provide a clear, sensitive portrait of Henri Matisse, story and soul alike, tracing his career as it evolved from paintings to paper cutouts.

The small Amish community of Home Valley is struggling and Sarah Kauffman's church elders give her permission to paint quilt squares on picturesque barns to draw tourists.

There were children running and playing along the highway in their bare feet; locals bicycling through the village; thin and sad - looking dogs roaming around and laying in the middle of the road; lots of garbage and litter scattered along the side of the road; abandoned buildings with jungle growth creeping inside them and graffiti on the exterior; open - air handicraft markets selling typical Mexican souvenirs and blankets in a variety of vibrant colours; empty bus stops covered in graffiti; small, open - air and simple restaurants with red Coca Cola signs on the exterior, and matching tables and chairs serving authentic cuisine; locals cooking and serving fresh meat on a barbeque along the road; a small park and square; narrow gravel roads stemming off of the highway to the remainder of the village; and tiny one - room houses with either thatched roofs and wooden panels on the sides or square white painted houses with a flat roof, barred windows and always a satellite dish on top.

Outside of that are smaller titles like INKS, which turns pinball into a form of painting, and KAMI (2013), a puzzle game made out of origami squares.

When you charge by the square inch, the price difference between a small painting and a larger one can become astronomical.

Very small pictures, if painted by gifted artists and installed in an adequate version of what Dave Hickey once dubbed a «clean, well - lighted place,» can produce exhibitions just as ambitious and adventurous as larger - scale projects... these canvases address significant issues related to their respective genres while averaging little more than a square foot apiece.»

Small squares of thickly applied paint conform to an uneven grid but threaten to spill over their boundaries, casting shadows on the canvas and creating the impression of movement.

Terre verte also figures in two single - panel monochromes whose composition — a large rectangle or square resting on a smaller rectangle — recalls Marden's early paintings and drawings, particularly their disclosure, in the lower rectangle, of the many layers used to build up the painting.

Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 small works exhibit, Muhlenberg College, pp. 9 - 10.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

Compositionally, the painting shifts rather jarringly from the narrow bands to the black ground occupied by a large green square and a smaller blue rectangle.

His small paintings seem assembled from strips of colored tape on an off - white ground, in slightly off - kilter and incomplete squares and diamonds.

On one wall of «Organic Geometries,» small colored dabs of paint and wood break ever so slightly out of their squares.

The Brown Foundation Gallery, a sprawling 8,000 square - foot space, contains 22 blank - looking, monochromatic paintings; several series of small works on paper; and a smattering of simple sculptures.

Among her own contributions to this year's Summer Exhibition will be two small paintings of squares.

Within the grids and lines on the canvas are not small squares of flat, immobile color, but drips and dimples of very active paint — as if each square could also be a composition unto itself.

In these paintings, he started from photographs he divided into small, square units that, after being enlarged, were painstakingly copied on canvas.

These smaller paintings are studies on composition, framing the outer edges (round or square) with vibrant colours and adding a few touches of paint that suggest depth and movement.

Upon close inspection, each square centimetre of Morley's paintings is nothing less than a small masterpiece.

Paintings starting in 2012 build on small squares of primary colors, with the brightness and opacity of acrylic, but they gain in intensity from orange and a paler blue as well.

It dwarfs the square painting to its left, no small potatoes itself.

These easel paintings create a sense of depth from small, nearly concentric squares.

Gerhard Richter's new project, «4900 Colours,» comprises 196 square panels of 25 coloured squares that can be reconfigured in a number of variations, from one large - scale piece to multiple, smaller paintings.

Another body of smaller paintings, each twenty by twenty inches, present grids of nine squares that pulsate in fantastical color, suggesting cross-like patterns that underlie the compositions.

At about five feet square, «Depend on the morning sun» is among the smaller paintings in the show, but it contains one of the broadest gradients — two horizontal - ish swipes of a brush outfitted with crimson, titanate yellow, Prussian blue and orange - pink, about a foot wide — slapped onto the upper right corner like a warning sign.

Perhaps Desmarais» jagged - edged sculptures are «small parts» fractured from some invisible «whole,» which the wall text suggested as a key facet of a «sample,» or maybe her square patches of painted wall «correct, enhance, or modify» the «routine» of exhibition display techniques.

Combining videotapes of these photo sessions with small portraits of their subjects is a bad idea; so is a wall of small, simpler Warholesque portraits titled «A-E-I-O-U and Sometimes Y.» Still, Ms. Thomas's conviction that the political is visual and every square inch of a painting's surface must count is inspiring.

The artist drips and meticulously builds layers of thick oil paint in her modestly scaled works, the largest of which measure three feet square and the smallest seven inches square.

Q: Many of your paintings are in a tiny six inch square format: how and why do you like to work so small?

Three bodies of work emerged around this time: the Step paintings, stacked rectangles and squares and irregular ladder - like structures; the horizontal Mobius Band compositions anchored by tiny squares of solid color; and the small - scale Heart Beat paintings, straight lines radiating from a half moon shape and pulsating with energy.

The Chunk series consists of three, six - foot - square acrylic paintings plus two smaller paintings where large portions of the canvas contain black or brown blocky figurative structures accompanied by explosions of straight lines of bright colors with soft round forms capping the ends.

Among the least assuming, yet most challenging paintings is «Catalyst III,» from 1985, a small work of anodized aluminum, nearly two feet square, that seems almost machine - made.

One particularly striking work is Molly Zuckerman - Hartung's The Failure of Contingency (2012), in which painted ribbons of canvas spill like linguine over the floor, beginning from a small square frame and ending in a puddle of fabric underneath two folding chairs.

One piece that especially stood out — a large work made up of twenty white paper squares divided by a thin wooden frame on which much smaller squares and rectangles painted in oil had been arbitrarily placed — is a visual testimony to the love of music and poetry that informs the creative work of this painter.

I also made a lot of very small square oil - on - wood paintings, and again, the markmaking went from loose grids to the point where I started leaving the verticals out.

Tony Bechara's labor - intensive painting 125 Colors (1979), showing countless small colorful squares packed onto the canvas surface, anticipates computer pixelation by a decade or more.

Agnes Martin, a small painting on canvas featuring a painted white square and a series of horizontal pencil lines, is a good example of this.

Her paintings, like life itself, are basically the same: square paintings (or long rectangular paintings) of small, ordered grids of squares, triangles, and unexpected shapes.

Some paintings feel better large, some smaller, and my canvases range in size from 36 to 72 square inches.

It also debuts medium - sized paintings on paper that are 38 x 30 and 44 x 30 inches in size and smaller paintings on canvas that measure 16 inches square.

Since 1990, Levine has created groups of closed - system paintings that embrace the following elements: off - square painting supports of modest scale and varying depths, small borders to amplify the paintings» complex surfaces, a variety of media (oil, gouache, flashe), and a palette of primary colors.

«Liminal Squared» by Julie Mehretu at the Marian Goodman Gallery In «Liminal Squared,» Julie Mehretu's latest show at the Marian Goodman Gallery on W 57 Street, she presents a small number of huge, nonrepresentational paintings that blur the lines between landscape, architectural drawing, and pure abstraction.

In the 1950s he experimented with symbolism and action painting and grid - like paintings consisting of small squares based on Hofmann's teachings.