Sentences with phrase «space out of the painting»

Exploring how to force illusionistic space out of painting, Stella created the seminal Black Paintings, credited by some as reinventing Modernism and establishing the basis for Minimalism.

He emptied space out of painting or, as Willem de Kooning said, he «broke the ice» when he seemed to have vehemently declared, in the eyes of some of his champions, that paint was paint.

Yau writes: «it seems to me that Plimack - Mangold's early investigations of space should be credited with initiating a dialogue in opposition to Frank Stella's stripe paintings, which squeezed space out of paintings altogether, and the flat, grid - like floor sculptures that Carl Andre began after 1965.»

Geometric symmetry was helpful to him because, as he put it, it «forces illusionistic space out of the painting at constant intervals by using a regulated pattern.»

In retrospect, it seems to me that Plimack Mangold's early investigations of space should be credited with initiating a dialogue in opposition to Frank Stella's stripe paintings, which squeezed space out of paintings altogether, and the flat, grid - like floor sculptures that Carl Andre began after 1965.

Not exact matches

Be sure to get your nursery project underway early, so there will be plenty of time to air out new furniture and freshly painted spaces.

Rather, they put serious time in, stretching out, like Obama - iconographer Shepard Fairey, across the floor of a Kinko's with elaborate cutouts, or painting, square by square, pixilated space invaders to be glued onto innocent facades.

top thing are gas mileage, plenty of room in cabin, big trunk space, small V - 6 with plenty of power, nice paint, 4 door, cloth interior, good looking cart and we get a lot of compliments when we are out with it that is my favorite feature

We are still needing people to come out to foster and adopt becuase while we got a LOT of animals into temporary housing and adoptive homes yesterday, the animals will still be coming into the shelter while the painting is taking place, but rest assured, we are not euthanizing animals due to lack of space in the adoption rooms, we will find other housing in rooms that do not typically house animals, and will continue to work with rescue groups, and promote fostering and adoptions.

We could paint a verbal picture, starting with the multiple screens spread out around the space, anchored by bean bag chairs and TV stands, or wait... would you look at that... developer Lienzo recorded a video of it and shared it on Twitter.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

My goal was a sense of compression by hanging several paintings close together on one wall, while the rest of the gallery was relatively spaced out.

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

Reinhardt or even Robert Ryman is trying to squeeze out every last illusion of space, to make the painted surface speak for itself.

Sarah Crowner: Wall (Hot Blue Terra Cotta) Sarah Crowner's gorgeous 10 x 20 foot tile mural Wall (Hot Blue Terra Cotta)(2014 - 2016)-- fabricated for her recent MASS MoCA exhibition Beetle in the Leaves — now guides visitors in and out of the museum's new gallery spaces, along with a companion work, Tile Painting (Terra Cotta)(2016).

First, during one recent visit, I noticed a large painting previously unknown to me, hanging in one of those out of context, no - man's land spaces near the escalator bank, on the 3rd or 4th floor.

In the first space, two wave paintings — one pink and one blue — hang opposite a pair of zoomed - out coastline paintings from which they were extracted and distilled.

I developed this «crackpot» math thing which has to do with converting the aspect ratio of the format for a better understanding about the specific area as a felt space — mostly because I wanted to get out of the composition business which always felt to me like stage direction, and which seemed to make the painting's feel episodic.

Works that are about the pleasures of paint, drawing, surface, material, color, feeling, sensuality, pure visual language, visual ideas, plastic space, beauty, and intuitive expressions are by and large left out.

The architectural space becomes an introspective and projective space, silent and welcoming, suitable for meditation: but Stingel's work alters our visual and spatial perception of it, suggesting a new, rarified and suspenseful atmosphere in which the silver, white and black of the paintings stands out like so many other «openings» on Venice, in an another dimension.

His constructed paintings as spider webs, shown at Boone and in a 1992 exhibition at the Parrish, came out of a 1970s movement of sculptured three - dimensional paintings that devalued the centuries» long culture of layering paint and creating an illusion of space.

Exhibiting a wide variety of mediums including photography, video, painting, sculpture, drawing and site - specific installations, Party Out Of Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigmof mediums including photography, video, painting, sculpture, drawing and site - specific installations, Party Out Of Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigmOf Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigmof late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigmof advocating for HIV and sexual / gender rights and combatting stigma.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

In these quick drawings, as with the large paintings that grow out of them, space is not a matter of logical perspective.

1999 Contemporary Japanese Art I, 1950s - 1970s from the Collection, The 10th Anniversary of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Eyes Watching the Space, Enjoying Painting and Space, Niigata City Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions of the Times, Machida City Museum of Graphic Arts, Tokyo, Japan Against Educational Course of Contemporary Art, The 20th Anniversary of Museum Opening, Itabashi Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine Arts, Tokyo, Japan Out of Actions: Between Performance and the Object 1949 - 1979, The Museum of Contemporary Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum of Applied Arts, Vienna, Austria Museu d'Art Contemporani, Barcelona, Spain Museum of Contemporary Art Tokyo, Japan

The Wright wall - painting is part of an exhibition curated by Polly Staple, director of the Chisenhale Gallery in east London, in the gallery space carved out of a previously disused wing of the castle.

Algus has earned a certain cachet mounting gently revisionist shows of left - out artists like Paul Feeley, Nicholas Krushenick, and Robert Stanley; here you see Semmel's paintings the way you might have seen them back in» 78, in an intimate space on the fringes of SoHo.

That artists continue to pursue the process of working with spaces outside the bounds of the classic painting — «opting out of the painting,» as Laszlo Glozer observed about twentieth - century art — shows the explosive force of this groundbreaking art form.

I do miss it, but I'm also figuring out how to incorporate observation, such as when I'm painting in my studio and I see a flood light that gives me an idea of a kind of mark I want to make or I just layer stuff that I perceive in different spaces into a single painting.

2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print Center, New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering Gallery, New York

The lines at the edges of Olitski's paintings frame the airy voids of his sprays, while the welded metal of Caro's sculptures traces out shapes in space.

Industrial light fixtures, bent and angled, shared wall space with boxy structures made out of the same blue - painted plywood that fences construction sites in New York City.

That was the terse advice that the painter Agnes Martin gave to anyone coming to her paintings, more than 100 of which are now floating up the ramps of the Guggenheim Museum rotunda in the most out - of - this - world - beautiful retrospective I've seen in this space in years.

Lines, colors, shapes are arranged in space and while at first the composition doesn't seem to stand out in any specific way, what you're in fact looking at is what art historians consider to be the very first non-objective or abstract painting of the 20th century.

In the adjoining side gallery, the Screen Combines take the tools of productions out of the paintings and into the viewer's personal space.

With time running out, MoMA painting curator James Thrall Soby, a personal friend of MacIver's, quickly contacted museums and collectors to determine whether they would collectively lend a sufficient number of MacIver paintings to fill the space.

This is an exit out of the picture, but the language of the painting forms a ligament to the edifice, connecting the pictorial, conceptual, and physical spaces through the established language of color and form in the painting.

«A complex painting would be one capable of including many spaces... many qualities of light, of texture, of facture, a wide gamut of colors; it would allow for descriptive representation, schematic or symbolic representation, for geometric and gestural abstraction; and these would not simply coexist, but would somehow be coordinating... and out of multiplicity would arise the work's sense of meaning.»

Each group is offset by voids — scrims, essentially, of negative space — through which vestiges of earlier compositions peek out from below the surface — an indication of the complex process by which Burckhardt completes a painting.

In «7.11.66» (1966) and «3.12.65» (1965), the intervals of the angled planes, as well as their orientation toward the painting's picture plane, move attention in and out of a space that is saturated with color.

They anchor the eye then slowly shift in and out of a painting space that is chopped and churned by touches and traces and flashes of light.

The presented works will include early paintings, counter-reliefs that reach out into the surrounding space, reconstructions of his revolutionary tower, and the flying machine Letatlin.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day - Glo - colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd - shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

The Lisson was then a small place, on the scale of a London house, with a number of white - painted rooms and an additional space built at the back out of unpainted breeze blocks.

If Marshall's work considers the erasures of history, Casteel's is very much set in the present tense (though her paintings are less a literal transcription of real life than they may seem: «I like to think of them as being able to wobble in and out of these flat and hyperrealistic spaces»).

It is in this painted space of «intimate immensity,» where dueling weather systems, terrain and sky, and the flooding light and growing shadows collide, that «Gornik's landscape opens out onto psychological experience broadly defined — the modern experience of loss without a lost object.

Hovering in space, Shiraga swirled oil paint on a sheet of paper that was laid out on the floor and created marks using his feet.

Giant sculptures of tulips, a pumpkin, dogs and a doll are located in the gallery's canal - side garden and ground floor exhibition space, along with new paintings, creating a surreal inside - out...

Thus these actors and their stage in the total cinematic experience of C R A S H, where the drama of Zack Davis «motionless glass barnacle stuck to the screen of a simulated fireplace plays out in a different dimension of the same space as Anne Fellner «s painting of a white swan lying limply on its side.

When planning a show, I often begin by working out the scale of the works with digital mockups, overlaying previous paintings onto installation shots of the project space.