Sentences with phrase «through key paintings»

This exhibition explores how his popularity continues to this day through key paintings that remain in British collections and a selection of fine drawings and prints.

Not exact matches

Also while you are here, grab the key out of the register and go through the door to the right to find another painting for the Art Collector Side Mission.

This is a short visual display of how perspective developed from the early Medieval paintings through the key artists in the Renaissance: Giotto, Masaccio, Brunelleschi, Leonardo and then the Dutch artists and then to Cubism.

, [L97] MIDNIGHT EDITION FLOORMATS, [Z66] ACTIVATION DISCLAIMER, [A96] REAR BUMPER STEP, BLACK CLOTH SEAT TRIM, PEARL WHITE, [A95] 6.5» DROP - IN BED LINER, [G01] MID-YEAR CHANGE, [K14] MIDNIGHT EDITION STEP RAILS, [K05] MIDNIGHT EDITION - inc: Midnight Edition exterior badge and black fender louver Dark Headlamps Black Mirrors and Door Handles Fog Lamps w / Black Fog Lamp Finishers Charcoal Interior Trim Black Exterior Badging Wheels: 20» x 7.5» Black Painted Black Step Rails Body Color Front Grille w / Dark Insert Body Color Front and Rear Bumpers, [B93] SPLASH GUARDS (B93), [U01] SV CONVENIENCE PACKAGE - inc: Intelligent Key System driver and passenger request switches Power Slide Rear Window w / Defogger Rear HVAC Vents Heated Front Captain's Seats w / Center Console 8 - way power driver's seat driver's seat power lumbar 120V in back of center console and 12V in center console Rain Sensing Wipers Auto - Dimming Rearview Mirror Universal Garage Door Opener Auto On / Off Headlights Convex Spotter Mirror Chrome Interior Door Locks Blind Spot Warning w / Rear Cross Traffic Alert Step Rails Painted Rear Bumper Front and Rear Parking Sensors Leather Wrapped Steering Wheel Wheels: 20» x 7.5» Painted Alloy Tires: LT265 / 60R20 AS BSW Radio: Nissan Navigation System w / Voice Guidance 7» color touch - screen display voice guidance SiriusXM Traffic SiriusXM Travel Link (weather fuel prices movie listings and stock info) voice recognition for navigation and audio and NissanConnect mobile apps Siri Eyes Free Auto Dual Zone HVAC, Turbocharged, Four Wheel Drive, Tow Hitch, Power Steering,ABS,4 - Wheel Disc Brakes, Brake Assist, Steel Wheels, Tires - Front All - Season, Tires - Rear All - Season, Conventional Spare Tire, Tow Hooks, Heated Mirrors, Power Mirror (s), Integrated Turn Signal Mirrors, Rear Defrost, Sliding Rear Window, Privacy Glass, Intermittent Wipers, Variable Speed Intermittent Wipers, Power Door Locks, AM / FM Stereo, Satellite Radio, MP3 Player, Bluetooth Connection, Auxiliary Audio Input, CD Player, Steering Wheel Audio Controls, Split Bench Seat,Pass - Through Rear Seat, Rear Bench Seat, Adjustable Steering Wheel, Power Windows, Keyless Start, Keyless Entry, Cruise Control, A / C, Cloth Seats, Driver V

Contact the Internet Department today., WHEELS 18 X 8.5 (45.7 CM X 21.6 CM) PAINTED ALUMINUM, Underbody Shield, Aluminum Wheels, REAR AXLE 3.42 RATIO, Tire Pressure Monitor, Power Windows, Fog Lamps, Head Curtain Air Bag, ENGINE 5.3 L V8 ECOTEC3 WITH ACTIVE FUEL MANAGEMENT DIRECT, Remote Engine Start, Intermittent Wipers, Driver Air Bag, Adjustable Steering Wheel, TIRES P265 / 65R18 ALL - TERRAIN BLACKWALL, LUXURY PACKAGE includes additional 9 months of SiriusXM Rad, Bluetooth Connection, MP3 Player, Power Seat, ENTERTAINMENT SYSTEM REAR SEAT BLU - RAY / DVD with remote co, PASSIVE ENTRY SYSTEM includes (AQQ) Remote Keyless Entry, CD Player, Traction Control,OFF - ROAD PACKAGE includes Z71 Suspension Z71 specific skid, LPO ALL - WEATHER FLOOR MATS (dealer - installed), LIFTGATE HANDS FREE POWER, WiFi Hotspot, Navigation from Telematics, Rear Parking Aid, Floor Mats, Rear Defrost, SEATS THIRD ROW 60/40 SPLIT - BENCH POWER FOLD, Climate Control, Bucket Seats, AM / FM stereo, Front Head Air Bag, Privacy Glass, Passenger Adjustable Lumbar, Steering Wheel Audio Controls, Front & Rear Air Conditioning, Lane Keeping Assist, Automatic Headlights, Daytime Running Lights, TRANSMISSION 6 - SPEED AUTOMATIC ELECTRONICALLY CONTROLLED, Rain sensing wipers, Adjustable pedals, Power Mirror (s), JET BLACK / DARK ASH LEATHER - APPOINTED SEAT TRIM, Stability Control, SUNROOF POWER TILT - SLIDING with express - open and close an, Leather Seats, Variable Speed Intermittent Wipers, Power Steering, Side Blind Zone Alert with Lane Change Alert, Passenger Air Bag,Pass - Through Rear Seat, SUN ENTERTAINMENT AND DESTINATIONS PACKAGE includes additi, Keyless Entry, Power Liftgate, SEATS HEATED SECOND ROW, MIRRORS OUTSIDE HEATED POWER - ADJUSTABLE POWER - FOLDING AND, AIR CLEANER HIGH - CAPACITY, Remote Trunk Release, Running Boards / Side Steps, Satellite Radio, Front Reading Lamps, REAR CROSS-TRAFFIC ALERT SENSOR INDICATOR, LPO BLACK ROOF RACK CROSS BARS (dealer - installed), Multi-Zone A / C, Seat Memory, Leather steering wheel, SEATS SECOND ROW BUCKET POWER RELEASE,4 - Wheel Disc Brakes, TRANSFER CASE ACTIVE 2 - SPEED ELECTRONIC AUTOTRAC with rot, STEERING WHEEL HEATED LEATHER - WRAPPED AND COLOR - KEYED wit, SEATS FRONT BUCKET WITH LEATHER - APPOINTED SEATING heated s, Rear Reading Lamps, LICENSE PLATE FRONT MOUNTING PACKAGE, Front Side Air Bag, Telematics, Power passenger seat, Passenger Air Bag Sensor, Tires - Rear All - Season, Front and rear parking assist, Heated Side Mirrors, Security System,ABS,Back - Up Camera,Auto - dimming rearview mirror, SHIP THRU PRODUCED IN ARLINGTON ASSEMBLY and shipped to Ke, Tow Hitch, Locking / Limited Slip Differential, Wireless Charging, Power Door Locks, KEYLESS START PUSH BUTTON, TUNGSTEN METALLIC, Conventional Spare Tire, Premium Sound System, Heated Front Seat (s), DVD SCREEN THIRD ROW, PAINT SCHEME SOLID APPLICATION, LPO POLISHED EXHAUST TIP (DEALER - INSTALLED), Cruise Control, RECOVERY HOOKS 2 FRONT FRAME - MOUNTED BLACK, Tires - Front All - Season, HD Radio, HILL DECENT CONTROL, Lane Departure Warning, Auxiliary Audio Input, Assist Steps, Four Wheel Drive, LT PREFERRED EQUIPMENT GROUP Includes Standard Equipment, LPO BLACK BOWTIE EMBLEMS FRONT AND REAR (dealer - installed, AUDIO SYSTEM CHEVROLET MYLINK RADIO WITH NAVIGATION AND 8 D, Rear Bench Seat, Brake assist, Universal Garage Door Opener, Smart Device Integration, STEERING COLUMN POWER TILT AND TELESCOPIC, Driver Adjustable Lumbar, This one should be yours CALL US [phone]

You ll also find plenty of space to stow items in the door - trim panel bins and under - seat rear storage area there s even space for a laptop inside the available flow - through center console., ELECTRONIC LOCKING W / 3.73 AXLE RATIO, REVERSE SENSING SYSTEM, XL SPORT APPEARANCE PACKAGE - inc: Fog Lamps Box Side Decals Wheels: 17» Silver Painted Aluminum Body - Color Front and Rear Bumpers body - color front fascia, TRAILER TOW PACKAGE W / 101A - inc: Towing capability up to 11 100 lbs Class IV Trailer Hitch Receiver towing capability up to 5 000 lbs on 3.3 L V6 PFDI engine (99B) and 2.7 L EcoBoost engine (99P) or up to 7 000 lbs on 3.5 L EcoBoost engine (99G) and 5.0 L V8 engine (995) smart trailer tow connector and 4 - pin / 7 - pin wiring harness Pro Trailer Backup Assist Upgraded Front Stabilizer Bar, OXFORD WHITE, ENGINE: 2.7 L V6 ECOBOOST - inc: auto start - stop technology GVWR: 6 360 lbs Payload Package, TRANSMISSION: ELECTRONIC 10 - SPEED AUTOMATIC - inc: selectable drive modes: normal / tow - haul / snow - wet / EcoSelect / sport, TRAILER TOW PACKAGE - inc: Towing capability up to 11 100 lbs Class IV Trailer Hitch Receiver towing capability up to 5 000 lbs on 3.3 L V6 PFDI engine (99B) and 2.7 L EcoBoost engine (99P) or up to 7 000 lbs on 3.5 L EcoBoost engine (99G) and 5.0 L V8 engine (995) smart trailer tow connector and 4 - pin / 7 - pin wiring harness Upgraded Front Stabilizer Bar, EQUIPMENT GROUP 101A MID - inc: SYNC enhanced voice recognition communications and entertainment system 911 assist 4.2» LCD display in center stack Applink and 1 smart charging USB port 4.2» Productivity Screen in Instrument Cluster compass XL Power Equipment Group Power Glass Sideview Mirrors w / Black Skull Caps manual - folding Power Door Locks flip key and integrated key transmitter ke

Exposed ugly plumbing pipes, paint blotches on varnished skirtings, rough and ugly wooden windows and barn - type doors, the host is able to enter through the back door for which we were not given the key to block entry, unsightly amateur - assembled cupboards, my shoulder got scratched and bled on dangerously protruding sharp corner of microwave cupboard, oven interior dirty, floors only half swept, no TV, so soap, no toaster, but good bed aand clean linen.

«Key details include the lack of formal «XP» points, but evidently HP and paint gauges can be increased through other means.

Colors, in their variety, combinations and sequences, reference lived experiences from garishness to mysticism, and it is this range that is key to their depth of feeling... Compositions are built on simple layouts — diamonds intersecting cruciform shapes — but it is the complicating of these geometries through color that make the paintings happen.

Rhoades took the various iconographies and key themes and adapted them to a modern day aesthetic in his theatrical installation, with the baptismal font of the painting becoming a Jacuzzi and the medium (oil paint) reconfigured through the use of motor oil in the work.

Moving on to 1954 and the low - keyed eighth painting in the series (now in the Museum of Modern Art, New York)-- greys, blues, muffled yellows on a surface just over six feet high by three and a half feet wide, a motor metropolis of tightly curving ramps with headlight beams spreading like stains suggest a vision, slightly smudged, as if seen through the thick glass window of a skyscraper; at any rate remote from the scene of automotive nightmare.

«Mona Hatoum: Terra Infirma,» through Feb. 25; «Thirty Works for Thirty Years,» key paintings, sculptures and drawings from the permanent collection, through Jan. 28; 1533 Sul Ross; 713-525-9400, menil.org.

Through key examples of paintings, drawings, large - scale sculpture, graffiti, and products such as toys and apparel, this exhibition aims to reveal critical aspects of his formal, conceptual, and collaborative developments.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts»paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Through a range of image sources and her stage - like environments, such as gallery walls painted with Chroma Key blue paint used in film or TV studios, Hamilton explores our associations to surreal and seductive cultural imagery while examining the histories of art, film, and performance.

Other paintings by Gavronsky evoke a scrapbook, or perhaps a crime wall, mapping key moments of human technological «progress», from industrialization in the 1800s to the «Great Acceleration» of the 1950s through to the present.

On view are iconic works from key moments of his career, from his student days in the 1960s to the present, including his large - scale double portraits of the celebrity friends of his youth; the collaged Polaroids through which he examined new possibilities within Cubism as well as the artistic use of photography; his later forays into painting the landscape on location in his native Yorkshire; and finally, his experimental works using iPad apps.

From the press release: Through select paintings by both artists, this exhibition offers a revealing parallel view of two key Abstract Expressionists.

Mark - making, gesture and touch — those are the key components as to how to generate images through painting.

Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s.

On one 13 - screen video wall, the artist's key paintings from 1890 through his death from pneumonia in New York, in 1944, are shown chronologically, fracturing into each other.

Hong Kong China Nam June Paik — The Late Style Gagosian Gallery 17 September > 7 November 2015 Video sculptures, paintings, and drawings produced during the last decade of Paik's life, many of which have never been exhibited, will be presented together with key works from the 1960s through the 1980s.

The choice of works is very deliberate with the exhibition broken down into seven themes: Beauty, Power and Space, which looks at each artist's engagement with the sublime, a theme central to English Romantic art but which survived through the modernist movement and is a key feature of Twombly's paintings; Atmosphere, which considers the ways in which the three artists paint land and sea through a filter of atmospheric conditions; Naught so Sweet as Melancholy, named after a phrase in Robert Burton's Anatomy of Melancholy, where the theme of loss and memorialisation are central concerns; The Seasons which reflects upon the passage of time; Fire and Water where all three artists evince the power of the elements; The Vital Force which brings together works of a sensual or erotic nature; and finally A Floating World where each artist contemplates mortality and external events that impact on their lives.

For his fifth solo show at Casey Kaplan, Berlin - based, British artist, Jonathan Monk, will present a new body of work that takes shape from key principles of Conceptual art — the favoring of ideas over object - making, serialism, the dematerialization of the art object — interpreting them with a playful sensibility and through a variety of media: 16 mm film, painting, sculpture, drawing, photography, and a laser - light installation.

To mark its 9th year, the award invited audiences to engage with some of today's key cultural, social, political, environmental and economic themes through a selection of shortlisted works in the following categories: Photographic & Digital Art; Three Dimensional Design & Sculpture; Painting & Drawing; and Video, Installation & Performance.

Opening September 6 and on view through November 29, 2009, the Museum of Fine Arts, Houston, will showcase a selection of key paintings by Joaquín Torres - García, one of the most influential Latin American artists and theorists of the first half of the 20th century.

A founding member of the legendary collective Hi Red Center and key figure of the Mono - ha (School of Things) movement, Takamatsu, over the four decades of his career, sought to explore the boundaries of reality and relationships with the physical world through a diverse body of work including sculpture, photography, painting, drawing and performance art.

Parsons serves as a key example of a woman who shaped the canon through her persistent support of underrepresented artists, all while maintaining a rigorous studio practice, and while her nearly six decades of luminous paintings were exhibited and sold throughout her lifetime, they were timidly recognized by the art world.

Bringing together painting, sculpture and video from throughout Lichtenstein's career, this exhibition constitutes a key body of work, drawn from ARTIST ROOMS — a collection of international modern and contemporary art, established through the d'Offay Donation in 2008, and jointly owned by Tate and the National Galleries of Scotland — alongside major loans from both institutions and the Roy Lichtenstein Foundation.

Welling studied painting before starting out in photography and it is a key influence within his work, which shines through this graphic, stylised showcase.

A key member of the Arte Povera group, Mario Merz produced expansive mixed - media paintings, sculptures, and installations, through which he propagated an egalitarian, human - centered vision.

Irvin's work developed from a time when he considered that in order to give the necessary gravitas to a painting it had to be dark and sombre, through to a growing realisation that high key colour can be crucial in the achievement of full expressive and communicative force.

This long overdue examination — which will run at the Whitney from June 8 through November 25 in the eighth - floor Hurst Family Galleries — focuses on key moments of experimentation in Corse's career, highlighting the ways in which her unique formal and material investigations helped forge a new language of painting.

Once I figured out what my foundational color scheme would be and got it firmly established through my paint colors or other key elements around my home (more details on my exact paint colors in upcoming posts!)

Staggered start points mean that visitors flow through the houses without overcrowding, and fact sheets are provided with information on fittings, from paint colours to key items of furniture.