Sentences with phrase «where early canvases»

At yesterday's press preview, Massimiliano Gioni, the museum's artistic director and co-curator of the ambitious exhibition, recommended that the works be viewed beginning on the second floor where early canvases for which Ofili is best known are on view, and then progressing on to the third and fourth floors.

Not exact matches

But he does better in the early scenes here where the young marrieds indulge their lust than in the more stilted dialogue - heavy moments in large open rooms filled with canvases and little else.

This array is a development from KAWS» exhibition at Kaikai Kiki Gallery earlier this year, where that melange of shadowy body parts is endlessly abstracted by their shaped canvases here.

The concentrated mass spreads to the edges of the canvas; this is a development from his earlier paintings where Guston coiled the mass more tightly in the center.

Newman appears again in Twice Hammered (2011), where one finds the reproduction of Diao's earlier Barnett Newman: The Paintings (1990; for which Diao presents all of Newman's paintings at small scale and reduced to the shapes of their canvases) next to that work's accompanying catalogue entry from a May 2005 Christie's Hong Kong 20th Century Chinese and Asian Contemporary Art sale.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

From expressionist human figures in the 1980s through to still lives in the 1990s, his work has evolved into austere canvases: fields of color in space where elliptical figures refer back to his earlier still lives.

By the early 1980s, he was established in New York, where he developed a powerful style of richly painted stripes and shapes with a masterly control of color and strongly built canvases.

Yet in the early 1960s, he travelled to New York, where he encountered the early flowering of US pop art, the most formative influence on his bright, abstract canvases.

(born 1938, Bronxville, New York, USA) in his earliest mature works explored a reductive strategy which seemed similar to that of Jasper Johns's and Ellsworth Kelly's contemporaneous works, yet more formalist: paintings such as Return 1 consist of subtly grey fields painted in encaustic (wax - medium) with a narrow strip along the bottom of the canvas where Marden left bare evidence of process (i.e., drips and spatters of paint).

Ground colors at a picture's periphery and a tracery of open rectangles running over areas where canvas tooth shows through probably indicate decisions made early and late in the work's making.

Compositions from the early 1970s, larger in scale than previous work, offer playful variations on numbering systems where the divisions within the canvas followed the Fibonacci sequence of 3,5,8.

In the early 1950s, inspired by her friend Jackson Pollock (where she saw this staining effect in his work) and encouraged by critic Clement Greenberg (with whom she was having a relationship), Frankenthaler found her original voice by pouring paint onto unprimed canvases.

The 1986 canvas — a large, early example of Richter's transition from a brush to a squeegee — had been displayed at Museum Ludwig in Cologne, Germany, where it was on loan for 13 years until 1999.

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.

The latest installment at Centre Pompidou Metz seeks to be the sum of the artist's early meditation on painting, where the surface of the canvas is intuited to become a mirror that wraps identity, space and time; and where brushstrokes are destined to dematerialize into a splitting of light.

The tongue - wagging panels meet the vaudevillian in Smith's «Stage Paintings,» 2011, where rough - hewn platforms showcase a draped piece of canvas on which the artist's name is rendered, akin to his earlier works.

The effect is rhythmic and episodic, unlike the earlier «Early Morning» (1967 — 8)(T. 1032) where the very narrow parallel stripes produce a shimmering overall «curtain» of colour in front of the canvas.

New Yorkers can see Corse's work at the Guggenheim Museum, where one of her early canvases appeared in «Surface, Support, Process: The 1960s Monochrome» [closes today] or visit the Lehmann Maupin Gallery in Chelsea to bask in the quiet glow of her newest paintings [on view through March 10].

The dots refer to earlier works where he added actual candy wrap to signify sweetness, by unifying the surface of the canvas they also show a clear dialogue with conceptual painting.

While it was around this time that Frankenthaler's canvases began to achieve a lightness — a kind of openness that allowed the composition to breathe — it was in the 1970s that the artist had moved away from the literal and figurative landscapes seen in her early work, such as the celebrated Mountains and Sea from 1952, and towards a more emotional and expressive representation of Color Field paintings where she developed a new sumptuousness and sensuality characterized in the present work.

On the two side walls the viewer can engage with Mosset's monochromes and symbolic geometries: on one side an immersive blazing large orange canvas painted in the early 2000s, on the other a lengthy white surface Patricia's Pillow (1985), where a long bright yellow line harshly yet lightly crosses a white surface.

Many of the canvases as well as triangular sculptures you saw in our studio visit earlier this month were transported to the gallery, but also Kofie added a beautiful installation of his workspace so that attendees could see where his creative process plays out.

The survey will bring together the artist's key bodies of work — including her early shaped canvases, freestanding sculptures, and light encasements that she engineered in the mid-1960s, as well as her breakthrough White Light paintings, begun in 1968, and the Black Earth series that she initiated after moving in 1970 from downtown Los Angeles to Topanga Canyon, where she lives and works today.