Sentences with phrase «street as a canvas»

Using the physical street as a canvas for expressing their ideas, Faile is part of a global movement that has been embraced by audiences for its popular approach to artistic and creative expression.

Starting off with graffiti in Atlanta in the 90s, Brewer saw the streets as his canvas and eventually transitioned his years of experience and technique to the studio.

In his performances he playfully uses the street as a canvas to construct a social critique.

His work often uses the street as his canvas or his backdrop, alluding to hip - hop and the role of graffiti artists, and he often operates within the gritty aesthetic associated with that culture.

Not exact matches

Council Member Dan Garodnick responded to say he has shared those same concerns with the MTA, comparing the current state of 14th Street as «a blank canvas.

► Warden - Brooks Ltd., which bills itself as the maker of the original «Wall Street Banker Bag,» sent Chiara de Blasio three canvas bags with Gracie Mansion embroidery.

Claire and Stuart held their modern Manchester wedding at Great John Street as it held the blank canvas they were looking for and they really went to town on the details and decoration.

Helen Marriage, Artichoke Director and curator of Lumiere London, said: «Using London's buildings as their canvas and its streets as their auditorium, these installations are not hidden away behind the closed doors of art institutions, theatres or concert halls, but sit firmly in the public realm for everyone to enjoy.»

These included: Mark Rothko, Philip Guston («Philip would say again and again — as if he had never said it before — that everything in a work of his had to be «felt»»), Franz Kline (he «held court at the Cedar Street Tavern almost every night after ten»), David Smith, Tony Smith, Robert Motherwell, Ad Reinhardt, Jackson Pollock, Barnett Newman, Hans Hofman («I always admired Hans» painting and believe that certain of his pictures — Lava and Agrigento come to mind — must be numbered among the greatest abstract expressionist canvases»), Willem de Kooning, and Clyfford Still («as a de Kooning man, it took me time to appreciate Still's innovation»).

A darling of emerging - art collectors and tastemakers like the Horts, the Greek - born painter Despina Stokou makes spunkily exuberant canvases that look terrific even as they freely betray their evident influences: the messy, street - inflected dynamism of Basquiat, the chicken - scratched scrawls of Twombly, the porn addictions of Richard Prince.

Lodewijks uses urban environments as a canvas for his abstract chalk drawings, from residential buildings in quiet suburbs to street surfaces in bustling city centres.

This solo will put somewhat of a new direction from the street collagist on display described as «Abstract Expressionism meets Pop - Art» in pieces similar to «giant petri dishes where his text and pop iconography, aka germs, take over the canvas.»

The city as canvas: How self - expression, politics, and protest reclaim the streets Made in collaboration with its featured artists, Trespass traces the rise and global reach of graffiti and urban art, not just as a fringe visual movement but as a social phenomenon and central expression of youth.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Four of the top names in subversive street art — Shepard Fairey, Cleon Peterson, POSE, and RETNA — will use the corridor as their «living urban canvas,» injecting provocative, large - scale artworks into one of Chicago's major emerging art scenes.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

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.

They're as comfortable leaving their imprint on the streets as they are making paintings on wood and canvas to be shown in galleries, and cull their imagery as much from outsider art, Brazilian folklore, and global hip - hop culture, as from their own private mythology.

All of the works in the «Flag Painting» exhibition at Karma (39 Great Jones Street) were created using found flags as a blank canvas, onto which Schnabel applied ink, gesso and spray paint in gestural strokes over the existing flag design.

Since the Club 57 era, Scharf has vehemently pursued an artistic practice that's consistently characterized as pop, surrealist, imaginative, and a bit loopy — though it spans street art, painting on canvas, video / performance, and installation.

As I wrote in the AJC, the exhibition documents a building anger that would erupt in 1967 both on the streets and in large - scale canvases such as «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableaAs I wrote in the AJC, the exhibition documents a building anger that would erupt in 1967 both on the streets and in large - scale canvases such as «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableaas «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableau.

For his excellent new show at Lehmann Maupin, NYC, Sunset in My Heart (which was celebrated at the opening by turning the gallery into a raucous Japanese summer street festival with a musical performance by the artist dressed as a Japanese schoolgirl gone wrong), Mr. has returned to his expressive and experimental roots as a young artist, incorporating abstract elements like graffiti, and using distressed and sullied canvases to accentuate his colorful anime - themed imagery.

Other standout lots were the very strong «Self Portait as a Heel - Part Two,» by Jean - Michel Basquiat (1960 - 1988), Lot 16, shown at the top of this article, an acyrilic and oil paintstick on canvas, 1982, that sold for $ 772,500, well above its high estimate of $ 600,000; two sculptures by Agnes Martin (b. 1912), Lots 17 and 18, which sold for $ 217,000 and $ 233,500, respectively, both considerably over their respective high estimates of $ 45,000 and $ 120,000; «Broadway and 64th Street,» a very good, large oil by Richard Estes (b. 1932), that sold above its $ 300,000 high estimate for $ 354,500; Lot 31, a large canvas from his Rorschach series by Andy Warhol (1928 - 1987) that more than doubled its high estimate and sold for $ 684,500; Lot 13, «Alkaline Phosphatase - Polyethelene Glycol,» by Damien Hirst (b. 1965), 1992, sold for $ 140,000 and had a high estimate of $ 80,000; and Lot 37, «a delightful large acrylic on vinyl tarpaulin by Keith Haring (1958 - 1990) that sold for $ 200,500 and had a high estimate of $ 150,000.

Amsterdam has these beautiful old streetlamps, and I saw so much street art in the daytime, but no artist was using city lights and streetlamps as a canvas.

Graffiti and street artists have an intimate relationship with the cities that they use as a canvas.

As with Goya's Black paintings, Saulnier's canvases at First Street derive much of their visual power from the fact that they can never be fully deciphered.

This section of the exhibition includes such major canvases as Ancient Wall, 1976 (Hirshhorn Museum and Sculpture Garden); Pit, 1976 (National Gallery of Australia); Couple in Bed, 1977 (Art Institute of Chicago); and The Street, 1977 (Metropolitan Museum of Art, New York).

Jenny Saville, «Ancestors» Opening: 6 — 8 p.m., Gagosian, 522 West 21st Street What you should know: YBA painter Jenny Saville hasn't had a New York solo in some seven years, so your appetite should by now be whetted for her grotesque depictions of bodies under duress, pressed against the canvas as a pane of glass, or grotesquely overweight, all recalling her countryman Lucian Freud's hungry paintings of abject flesh.

For the past six years, the annual Nuart Festival has invited an international team of Street Artists to use the city as their canvas.

She signed a contract with Basquiat, donating not only paint and canvases, but also providing the artist with the cellar of her gallery at 100 Prince Street in SoHo so he could use it as a studio.

Chalk (about the work of Bart Lodewijks) From residential buildings in quiet suburbs to street surfaces in bustling city centres, Dutch artist Bart Lodewijks uses urban environments as a canvas for his abstract chalk drawings.

Jenny Saville's 1990s breakout work with obese female bodies on supersized canvases — as seen on the Manic Street Preachers» Holy Bible cover — were discovered by Charles Saatchi, who supported her for 18 months before exhibiting the results as part of Young British Artists III when she was 23.

Bruce Garrity, Recent Work A large painting, 70 ″ x 58 ″, oil on canvas, this artwork was displayed along two similar sized paintings at 3rd Street Gallery as part of Bruce Garrity «s presentation of his recent paintings this past June.

Fridman Gallery (287 Spring Street) opens their first solo exhibition, «INFOESQUE,» by the British artist Navine G. Khan - Dossos on April 13, 6 to 9 p.m., The show includes a series of works on canvas that «explore the design strategies of Rumiyah magazine,» plus thirty - six panel paintings that use issue 5 of the now - shuttered Dabiq magazine as source material.

To celebrate the coming of Summer at Mott Street, the Rebecca Hossack Art Gallery presents an international group show, featuring works on paper and canvas as well as digital prints...

A large painting, 70 ″ x 58 ″, oil on canvas, this artwork was displayed along two similar sized paintings at 3rd Street Gallery as part of Bruce Garrity «s presentation of his recent paintings this past June.

His use of such evocative materials as bales of raw cotton, rope, and canvas bags like those of cotton pickers evoke black life under slavery; rusted debris found on city streets connotes urban degeneration.

Spanning three floors of the 24 Grafton Street location in London, the exhibition will include wall paintings and works on canvas as well as a group of related studies that focus on two themes: works in black - and - white and the disc.

But one March morning four years ago, Elizabeth Gibson was on her way to get coffee, as usual, when she spotted a large and colorful abstract canvas nestled between two big garbage bags in front of the Alexandria, an apartment building on the northwest corner of Broadway and 72nd Street in Manhattan.