Sentences with phrase «text painting by»

IT WAS THE FIRST LOT OF THE NIGHT, a white - on - white text painting by Glenn Ligon.

This show takes its title from a text painting by Brazilian artist Lenora de Barros.

It brings to the museum both familiar faces and essential works, but a text painting by Christopher Wool comes perilously close to summing it up: the show is over.

Also on view in this two - person exhibition are text paintings by the German artist Volker Eichelmann based on writings by British luminaries William Beckford and Stephen Tennant.

Not exact matches

A third film, The Law and the Prophets (McGraw - Hill Text Films, 1970; 51 min., 2 reels, color), not only offers a good summary of the Old Testament but also demonstrates the influence of the Bible on Western art, for, it shows great works of painting and sculpture inspired by the Bible.

Above the saints, who were painted by Mark Dukes, is a text from St. Gregory: «The one thing truly worthwhile... is becoming God's friend.»

Betsy Franco's rhythmic, cumulative text makes this a lively read - aloud, and rich, luminous paintings by Stefano Vitale capture the bold beauty of nature.

In text inspired by informal, ongoing interviews with a class of fifth - graders, Close talks about his paintings and life, including overcoming his physical disabilities: life - long dyslexia and a stroke that left him wheelchair - bound.

Throughout, the lively text is illuminated by photos, drawings, maps, and the beautiful photorealistic paintings of Ken Marschall, who has emerged as the disaster's visual historian.

The exquisite watercolor paintings are each framed with a thin black line and set apart from the text by the use of white space.

The end result is that text reads as if you were out of a magazine, an effect enhanced by the fact that everything from photos to webpages appear as if they're painted on top of the display.

Even street artist Dan Witz's paintings of people entranced by the glow of their phones, where they could be reading anything from a text to Tolstoy, don't hold a candle to the street style - ish blog Underground New York Public Library.

In a two part essay, Bernhard Gaul considers texts on Carpaccio (by Michel Serres and Andrey Tarkovsky) in relation to viewing Carpaccio's paintings.

Inspired by a text more overtly related to Henrot's interest in taxonomy and philosophy, «The Order of Things,» Michel Foucault, is an explosion of metal odds and ends mixed with anonymous vegetation and a rainbow of paint swatches — a colorful starburst of the playfully arbitrary.

With hindsight it has been suggested that the show was «too heavily weighted with recent paintings, and burdened also with his literary inclinations in the form of lengthy explanatory texts which he hung next to his pictures».1 The show was panned by critics and while Kitaj was still reeling from what he perceived to be unreasonable and highly personal criticism, his wife Sandra Fisher, also a painter, died suddenly.

Singling out the season's most tweet - worthy, opening night acolytes tracking our Black Art Matters moment orbited Lars Fisk's satirical softballs at Marlborough Chelsea, lined up outside Hauser Wirth for Rashid Johnson's black soap, shea butter and horticultural installations that comment obliquely on cleansed grime and forced growth, and crowded into Jack Shainman's galleries for Meleko Mokgosi's large - scale, text - supported paintings which illustrate the interrelationship between southern African liberation movements and communism, offset by «lerato», the Setswana word for love.

With various colour reproductions of paintings / works and reference material, foldout - pages, texts and interviews by the artist in English and German.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

Agnes Martin: Paintings, Writings, Remembrances Introduction by Arne Glimcher, Phaidon Miró and Calder's Constellations Texts by Margit Rowell and Mildred Glimcher, Introductions by Joan Punyet Miró and Alexander S.C. Rower, Rizzoli Samaras: Album 2 Text by Donald Kuspit, Skira 50 Years at Pace Gallery Text by Arne Glimcher, Pace Gallery

Alongside a combine painting is Autobiography, with Rauschenberg surrounded by spiraling text in tribute to friends like Jasper Johns.

Highlights include Pam Lins's Red White and Blue (2013), a trio of ceramic drum sets perched on USPS boxes repurposed as pedestals, and Caitlin Keogh's paintings reworking extracts of text from Dior by Dior and The Ravishing of Lol Stein by Marguerite Duras into hypnotic patterns.

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 - 10.

In «La Condition Humaine» Karen Carson pushes the conceptual boundaries of image / text juxtaposition by offering large banner - like paintings with kitschy type situated above and below loosely rendered yet enigmatic faces.

with text by Ronald Kuchta and Michael Walls) Painting in America: Yesterday and Tomorrow, The Decorative Arts Center, New York, USA (curated by Dave Hickey)

In 2007 - 08, he acted as the curator and organiser of an exhibition celebrating painting at Chelsea, called `... Same As It Ever Was» which contained the work of some fifty artists, occupied three galleries and was accompanied by a catalogue with texts by Matthew Collings, David Ryan and Clyde Hopkins.

How many times have we heard clichés related to the over-working of a painting, the over-editing of a text or a concept becoming clouded by the complexity of its own meaning?

As in most of his solo shows, these low - rent objects are accompanied by oversized paintings of texts delivered in child - like handwriting resembling Comic Sans, with intentional misspellings and grammatical errors.

Joe Wardwell is represented by Fred Giampietro Gallery, New Haven, Ct «My paintings integrate landscape, text, musical allusions, and abstraction to investigate myths about «nature»...

Thomas Chimes: Early Works (1958 - 1965), 2009 Text by Lisa Saltzman 56 pages, Hardcover Published by Locks Art Publications ISBN: 978 -1-879173-41-5 «Developing, in these formative paintings, a visual style indebted to the palette and compositional structures of such modernist forefathers as Marsden Hartley and Henri Matisse and emboldened by the stenographic proto - abstractions of such New York School predecessors as Jackson Pollock and Mark Rothko, Chimes systematically put forth a series of paintings that pressed such experimentations with the limits of figuration into the realm of the theological, the philosophical and the historical.

Squeak Carnwath draws upon the philosophical and mundane experiences of daily life in her paintings and prints, which can be identified by lush fields of color combined with text, pa...

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Thomas Chimes: Complete Circle, 2001 Text by David Cohen 54 pages, Softcover Published by Locks Art Publications ISBN: 1 -879173-49-2 Complete Circle presents the early and later work of noted artist Thomas Chimes: a series of metal box constructions from 1965 - 1973 paired with related new paintings.

Yoan Capote is quoted in the wall text by his painting as saying, «The sea, for me and for a lot of Cubans, was like a wall, more an image of isolation than a beautiful place.

This expanded edition of Panorama includes a new text by Mark Godfrey that covers works made since the 2011 exhibition, including the Strip, Flow and Birkenau paintings, as well as an updated chronology.

It features texts by Elena Geuna and Guy Tosatto and reproduces over 85 works, including photographs and sculptures, along with numerous paintings.

The paintings superimpose suggestive text written by Ellis and set in Los Angeles inspired fonts over stock - photographic images selected and purchased online by Israel: sunsets, surf, aerial views of Los Angeles, and close - up details highlighting local architectural vernacular.

Edna Andrade: Optical Paintings: 1963 - 1986, 2003 Text by Debra Bricker Balken 76 pages, Softcover Published by The Institute of Contemporary Art, University of Pennsylvania ISBN: 0 -88454-101-0

While its iterated cuts conjure a dynamism that has an undeniable debt to Italian Futurist painting, the elongated, serial composition and slick objecthood of Concetto spaziale, Attese can also be seen in relation to such Minimalist formats as the boxes and «stacks» created by Donald Judd, whose groundbreaking text «Specific Objects» had been published in 1965.

The title, selected by Andrade, is an old Tupi word that translates to mean «the man who eats people»; it was this painting that inspired Andrade to write his «Anthropophagite Manifesto» celebrating Brazil's history of «cannibalising» other cultures — a landmark postcolonial text.

More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.

Indeed, with her adeptness at luring viewers with captivating (and seemingly innocuous) hand - painted illustrations, humorous texts, and sheer scale and then surprising them with content that is remarkably honest — by turns subversively friendly or bitingly critical and addressing such fraught subjects as power dynamics, social marginalization, and even the machinations of the art world — she has smartly aligned herself with the enduring and boundary - pushing strategies of satire, parody, and caricature.

Combining sculpture, painting and video work in the exhibition, Reyes McNamara investigated key texts by Mexican American theorist Gloria E. Anzaldúa, Dominican American writer Junot Díaz, and Cuban American poet Gustavo Pérez Firmat

Ex Voto In addition to the solo exhibition of recent paintings by Jan Vanriet, the gallery presents a book edition with texts by Eric Rinckhout and Vanriet.

Standout artists in the show include Tomashi Jackson, who uses Josef Albers's 1963 text Interaction of Color to explore the history of racial segregation in her painterly assemblages; David Shrobe, who creates surreal portraits by combining his figurative paintings and drawings with found materials; and Kennedy Yanko, who makes abstract sculptures by blending rubbery skins of poured paint and crumpled paper with bits of marble and scrap metal.

2014 Rothko to Richter: Mark - Making in Abstract Painting from the Collection of Preston H. Haskell, Princeton University Art Museum, Princeton, NJ It's What You Do With What You View»: Selections from the Dorothy and Herbert Vogel Collection, Bowdoin College Museum of Art, Brunswick, ME Art = Text = Art: Works by Contemporary Artists, UB Anderson Gallery, The State University of New York, Buffalo, NY

Almost all of the paintings on view at Venus Over Manhattan depict an ocean roiling with beautiful, chaotic swells, accompanied by meandering texts, non-sequiturs, quotations, and bits of poetry in the artist's handwriting.

A lot is packed into the space without it seeming at all crowded, with surprising early things alongside classic works by Holzer (streaming LED signs and granite benches emblazoned with her aphorisms and poetic texts), Lawler (photographs of works of art uncomfortable in their contexts), Sherman self - portraits and Trockel wool paintings.

By combining text and the painted figure with objects and drawings from his unconscious, Shaw's works twist politics, religion, and belief into one long dream sequence.

Few contemporary artists have developed a visual vocabulary as immediately recognizable as the Chicago - born artist Christopher Wool's — and what's remarkable is that he was able to achieve this distinction across a number of different series, from his influential text paintings to his elegantly minimal canvases marked by fences and other repetitive forms to his dynamic gestural abstractions that borrow from graffiti culture.

In one of his iconic photo - and - text pieces, he reproduces the revered Artforum (an issue with a painting by Frank Stella on the cover) and juxtaposes the magazine with a confusing edict that This is not to be looked at (1968).