Sentences with phrase «unstretched canvas works»

Additionally, unstretched canvas works and altered books, in which Wheatley records experiences, dreams, and ideas, provide a glimpse into the mind of the creator while also highlighting her spirituality and work as a healer.

Not exact matches

In addition to important paintings and works on paper, the Parrish collection includes an unusually large number of works in a less finished state, including some unstretched paintings on canvas and a large number of paintings on boards.

Golub experimented with scale, and the works assembled for this exhibition range in size from the smaller works on paper to monumental, unstretched canvases that extended from floor to ceiling at the Serpentine Gallery.

Dripping paint onto an unstretched canvas required Pollock to use his entire body, which created this very unique connection between him and his work.

Lives and works in her Kent cottage, producing extremely large paintings on unstretched, unprimed canvas, creating a kind of artlessness.

Co-curated by Alfred Pacquement, the former director of the Centre Pompidou (which staged a groundbreaking retrospective of Hantaï works in 2013), the exhibition primarily tracks Hantaï's early use of his «pliage» method - an intricate technique of folding and knotting an unstretched canvas before Hantaï painted the configuration, unfolded and then stretched it, so that colourful geometric shards and unpainted negative space were revealed.

The show's centrepiece — a series of hanging, unstretched, painted canvases by the Guatemala - based artist Vivian Suter (Untitled, 2017)-- seems to cast a tawny glow onto the works on the walls around it, as if caught in a late - summer twilight.

From 1967 to 1973, Thornton Willis worked on a series of paintings now called his «Slat Series» involving a «wet on wet» process working on the floor on large wet unstretched canvas and using rollers with long extension handles to develop striped bands across the entire picture plane.

The canvases hang unstretched on the wall, sporting grids of creases, evidence of having been folded in storage for decades — the works haven't been seen since Griffa made them.

Moving beyond the experiments of other painters of the era, Gilliam saturated raw, unstretched canvas with acrylic to create works that lie at the intersection of painting and sculpture.

As the works here confirm, he has painted not only on canvas and linen (stretched and unstretched) but also on fiberglass, Plexiglas, handmade paper and aluminum.

When he jettisoned the frame completely, however, Gilliam arrived at wholly new, groundbreaking works such as Light Depth (of 1969), which consists of some 75 feet of stained, crinkled, and suspended unstretched canvas.

They realized Pollock's process — working on the floor, unstretched raw canvas, from all four sides, using artist materials, industrial materials, imagery, non-imagery, throwing linear skeins of paint, dripping, drawing, staining, brushing - blasted artmaking beyond prior boundaries.

Then again, Freedman Fitzpatrick had no trouble selling works on unstretched canvas that resulted from performances by Mathew Lutz - Kinoy.

However, several larger works are created on unstretched canvas that adds a layer of dimensionality to the form.

Roberta Smith on Pierre Bonnard at the Met: «Working simultaneously on several unstretched canvases tacked directly to the wall, he painted largely from memory with the help of quick sketches and watercolors, burnishing his motifs until they approached incandescence.

Soft lines are produced through frottage, a technique for which the artist rubs pastel on to an unstretched canvas that has been placed over a tangle of cord or string, then often completes a work by adding pigment to the surface.

These are followed by paintings from the late 1980s and early 1990s made in Chicago, where Marshall lives and works and developed a signature practice of painting in acrylic on the collaged surfaces of large unstretched canvases.

Artist abandoned the conventions of brush and easel and played with new materials and methods of artistic gesture: commercial paints and housepainter's brushes, working on unstretched and unprimed canvases, moving the canvas to the floor, and applying paint with hands.This essential introduction spans the international breadth, conceptual depth, and seismic impact of Abstract art with a thorough survey not only of the big names such as Picasso, Klee, Kline, Rothko, and Pollock, but also lesser - known figures who made equally significant abstract contributions, including Antoni Tàs; pies, K.O. Götz, Ad Reinhardt, and Sophie Taeuber - Arp.

Complex underlying structures caused the canvases to bulge or reach out along the wall or into the room; a sequence of 12, gradually changing forms was based on the pages of a calendar from which successive pages had been torn; and finally, in work from 1972, the architectonic quality of the paintings was discarded in his Kite Paintings, in which unstretched, painted canvases were suspended from rods and interrupted by cords and threads hanging off and passing through them.

My most recent encounter with his works was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I HelpWorks: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Help You?

Let's start at the beginning, in the Giardini's main pavilion, its massive Doric columns draped with Sam Gilliam's brilliantly hued Yves Klein Blue (2017), an unstretched canvas dyed in the spirit of Gilliam's early works and hung horizontally like bunting.

Rita Ackermann works more traditionally but abstractly on unstretched canvas in her Neolithic like Fire by Days XVII.

These works appear to coalesce in a series of paintings on unstretched canvas where the corners protrude out and become sculptural.

His bold colors work against the unprimed, unstretched canvases which serve as both a conforming geometric structure and deconstructed space.

We filmed with the artist for over a year to create this nine - minute film, documenting the paintings as they went from unstretched canvases to completed works installed inside the museum.

The diversity of the 1980s can be seen in Dan Christensen's Tuscarora (1980), which belongs to the vibrant and poetic paintings in which the artist furthered his use of experimental methods to include staining on unstretched canvases and calligraphic «drawing» using sticks, brushes, and turkey basters, Friedel Dzubas's Barrier (1983), demonstrating the lyrical and contemplative style of this artist who studied with Paul Klee, and Stanley Boxer's Speckledchant (1988), a work in mixed media that evokes baroque opulence in the way that explosive forms seem compressed within the confines of the canvas.

They're among 32 paintings, a selection of photographs, three videos, a variety of small works on canvas (stretched and unstretched) and aluminum, plus ephemera — sketches, magazines, snapshots, etc..

While her pouring process invites comparisons to Jackson Pollock, rather than laying her canvases on the floor, Steir paints from a ladder and works directly on unstretched canvas tacked to the studio wall.

All around, canvas and panel dominated; where it didn't, as with the loose, unstretched and sometimes floor - strewn works of Oscar Murillo, its absence only served to emphasize the stretched canvases everywhere else.

This exhibition, The Human Stain (quoting the title from the Philip Roth novel), is comprised of a series of works on paper and unstretched canvas by Karen Schwartz.