Sentences with phrase «very center of the painting»

Not exact matches

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«Health information, in particular, which can encompass a variety of things from sleep patterns to diagnoses to genetic markers, the data gathered about us can paint a very detailed and personal picture that is essentially impossible to de-identify, making it valuable for a variety of entities such as data brokers, marketers, law enforcement agencies, and criminals,» says Michelle De Mooy, director of the Privacy & Data Project at the Center for Democracy & Technology.

The Technical Center's very own paint shop extends the range of exterior color options, using the latest technology to deliver unparalleled finishes.

«The whole story of modern art looks very different when told from the West Coast,» says the Getty Research Institute's deputy director Andrew Perchuk, who is codirector of «Pacific Standard Time» and cocurator of «Crosscurrents in L.A. Painting and Sculpture, 1950 — 1970,» one of the Getty Center's related shows.

The visual arts were at the very center of his life, and his relationship to painting and sculpture, and to artists, enriched his sensibility.

2007 Existencias, Musac, Museo de Arte Contemporáneo de Castilla y León, Léon Some kind of Portrait, Marc Selwyn Fine Art, Los Angeles, CA Size Matters: XS, Recent Small - Scale Paintings, HVCCA, Hudson Valley Center for Contemporary Art, Peekskill, NY Joy Feasley & Clare Rojas: Pow - Wows or The Long Lost Friend, Locks Gallery, Philadelphia, PA Silly Adults, Galleri Nicolai Wallner, Copenhagen Very Abstract and Hyper Figurative, Thomas Dane Gallery, London Panic Room, Works from The Dakis Joannou Collection, Deste Foundation, Centre for Contemporary Art, Athens In The Fullness of Time: The Luggage Store 20 Year Anniversary Exhibition, San Francisco, CA

At the opening reception of his latest exhibit, The World of Line, Ink, and Nude by Chang - Woo Seok, now on display at the Korean Cultural Center Washington DC through June 8, the artist demonstrated his very personal technique, making use of his prosthetic limbs to grasp a brush and his torso movement to paint across a room - sized canvas of traditional Korean paper, spread across the gallery floor.

Michael Auping: This was a very new thing for painting to have a hole in the center of your painting that was as much about the wall almost as it was about the painting.

In a way, Louppe and Brianchon were very lucky to be where they were at the time they painted — up through the early middle of the 20th century, Paris was the Western center of art, painting in particular.

It also includes 27 very recent works made since 2002, including his series of glass constructions; the Silicate series; all six Cage Paintings; and his iconic painting «September,» a powerful depiction of the terrorist attacks on the World Trade Center in New York in 2001.

The cream - colored surface of the work has several very intriguing circular bas - reliefs as well as a boldly painted diagonal element in the center the top of which intersects with a row of gray dots that escalate slightly in size and parallel a large iron rod whose curved tone, like a cane handle, rises above the top of the four large panels.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

Her new paintings present few visual elements — two stacked, horizontal rectangles of differing heights and colors that are centered and aligned at the very top edge of a horizontal, panoramic canvas.

2012 — 2013 OS, Whitney Museum of American Art, New York, USA (solo) 2009 Museum Ludwig, Cologne 2009 Galleria Gió Marconi, Milan 2008 Portikus, Frankfurt am Main 2008 Galerie Chantal Crousel, Paris 2008 LAXART, Los Angeles (GuytonWalker) 2008 Carte Blanche III: «Gedichte der Fakten «-- Arbeiten aus der Sammlung Arend und Brigitte Oetker, Galerie für Zeitgenössische Kunst, Leipzig, Germany 2008 Wade Guyton and Kelley Walker, MAMbo, Bologna, Italy (solo) 2007 Friedrich Petzel Gallery New York, USA (solo) 2007 Galerie Francesca Pia, Zurich, Switzerland (solo) 2007 Wade Guyton: Objects are much more familiar, Power House, Memphis, USA (solo) 2007 Degree Zero, Richard Telles Fine Art, Los Angeles, USA 2007 DUMP, Postmodern Sculpture in the dissolved field, Nasjonalmuseet for Kunst, Arktitektur og Design, Oslo 2007 For the people of Paris, Sutton Lane, Paris, France 2007 The Lath Picture Show, Friedrich Petzel Gallery, New York, USA 2007 Very abstract and hyper figurative, Thomas Dane Gallery, London, UK 2007 Galerie Gisela Capitain, Cologne, Germany (solo) 2006 Paintings, Westlondonprojects, London, UK (solo) 2006 MAMBO, (Guyton / Walker collaboration), Bologna, Italy (solo) 2006 La Salle de Bains, Wade Guyton, Lyon, France (solo) 2006 U Stencil, Hard Hat Editions, Geneva, Switzerland (solo) 2006 Color, Power & Style, Friedrich Petzel Gallery, New York, USA (solo) 2006 Haubrokshows, Berlin, Germany (solo) 2006 Carpenter Center, Harvard University, Empire Strikes Back (GuytonWalker collaboration), Cambridge, Massachusetts, USA (solo) 2006 Casey Kaplan gallery, Pose & Sculpture (cur.