Sentences with phrase «white artists dating»

Not exact matches

Another star couple making a date night of it, the Grey's Anatomy and his makeup artist wife complement each other nicely in sleek black and white.

Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

Set to be artist Jenny Holzer's longest running and largest exhibition to date, her project creates an immersive environment in which legible texts overlap and ride into a surround of white light and language.

«Alice Neel: Late Portraits & Still Lifes,» at David Zwirner Gallery, is a rare and extraordinary grouping of 16 perfect, irreducible human beings, four bouquets of flowers, a couple of dying plants on a windowsill beside a fire escape and a wonky white chaise longue, in a total of 18 paintings dating from 1964 to 1983, the year before the artist's death.

Inscribed, on reverse, upper left, in marker: «Title: «Exploding Star» / Media: Charcoal / Date: 1965 / Artist: Charles White»

Uptown at The Armory Show, Vigo Gallery, situated within the Focus: Africa section, devoted its booth to El - Salahi's black - and - white series of works dating from the 1960s to the present (the gallery noted that the series is the artist's favorite).

Intaglio from 10 copper plates on Barcham Green paper 15 1/2 x 12 1/2 inches Edition of 100 with 20 artists proofs Signed & Dated in Pencil «J Johns 75» lower right Numbered in Pencil by the Artist lower left Literature Richard Field, The Prints of Jasper Johns 1960 - 1993: A Catalogue Raisonne, ULAE, New York, 1994, Catalogue Reference ULAE 155, n.p., another impression reproduced in black and white.

It is brought up to date with discussion of some of the most significant international women artists to have emerged in recent years, including Wangechi Mutu, Pae White, Yael Bartana, Jenny Saville and Teresa Margolles.

HELEN FRANKENTHALER (B. 1928) Un Poco Más (Harrison 140) lithograph in colors, 1987, on Arches Cover, signed and dated in white pencil, numbered 59/60 (there were also 12 artist's proofs), published by Ediçiones Poligrafa, Barcelona, with full margins, the colors slightly attenuated, minor skinning at the reverse of the margin edges, otherwise in good condition L. 23 1/2 x 30 in.

HELEN FRANKENTHALER Guadalupe (H. 164) mixograph in colors, 1989, on white handmade paper, signed and dated in pencil, numbered 50/74 (there were also 16 artist's proofs), published by Mixografía, Los Angeles, the full sheet, apparently in very good condition, not examined out of the frame S. 69 x 45 in.

HELEN FRANKENTHALER Un Poco Màs (H. 140) lithograph in colors, 1987, on White Arches Cover paper, signed and dated in pencil, numbered 46/60 (there were also 12 artist's proofs), published by Ediciones Poligrafa, S. A., Barcelona, the full sheet, minor rubbing in the lower corners, pale foxing on the reverse, otherwise in very good condition S. 27 x 37 in.

HELEN FRANKENTHALER (B. 1928) White Portal (Harrison 10) lithograph in colors, 1967, on Arches, signed and dated in pencil, numbered 18/18 (there were also 4 artist's proofs), with the ULAE blindstamp, West Islip, New York, with full margins, 6 tiny pin holes in the blue areas, time staining at the extreme margin edges, minor remains of old tape at the reverse of the margin corners, otherwise in very good condition.

HELEN FRANKENTHALER (B. 1928) Mirabelle (Harrison 169) lithograph in colors, 1985 - 90, on Arches, signed and dated in white pencil, numbered 21/56 (there were also 14 artist's proofs), with the Tyler Graphics Ltd., blindstamp, Mt. Kisco, New York, the full sheet, in excellent condition, framed S. 30 1/8 x 37 1/8 in.

HELEN FRANKENTHALER Frankenthaler Alaska (H. 165) mixograph in colors, 1982, on heavy white handmade paper, signed and dated in pencil, numbered 20/50 (there were also 13 artist's proofs), published by Mixografia, the full sheet, in excellent condition S. 48 x 37 in.

HELEN FRANKENTHALER Radius (H. 234) woodcut in colors, 1992 - 93, on White TGL handmade, signed and dated» 93» in pencil, numbered 30/30 (there were also 8 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, one small area of surface soiling in the upper left sheet corner, hinged to the support in places at the reverse of the sheet edges, otherwise in very good condition, framed S. 28 x 28 in.

Artist: Marguerite Humeau Exhibition title: Echoes Venue: DUVE Berlin, Berlin, Germany Date: May 1 — June 6, 2015 Photography: images courtesy of the artist and DUVE Berlin When Marguerite Humeau's exhibition * Echoes * closes on June 6, the hypnotic yellow pigment that dresses the walls of the gallery for her work Black Mamba will presumably be repainted in a casual White Cube Artist: Marguerite Humeau Exhibition title: Echoes Venue: DUVE Berlin, Berlin, Germany Date: May 1 — June 6, 2015 Photography: images courtesy of the artist and DUVE Berlin When Marguerite Humeau's exhibition * Echoes * closes on June 6, the hypnotic yellow pigment that dresses the walls of the gallery for her work Black Mamba will presumably be repainted in a casual White Cube artist and DUVE Berlin When Marguerite Humeau's exhibition * Echoes * closes on June 6, the hypnotic yellow pigment that dresses the walls of the gallery for her work Black Mamba will presumably be repainted in a casual White Cube wWhite Cube whitewhite.

Color intaglio (spitbite, aquatint) on Magnan Pescia soft white paper 21 x 16 inches 11 3/4 x 8 inches (image size) Edition of 30 with 8 artist's proofs Signed and dated in pencil «Jasper Johns» 12» lower right, numbered lower left Printed by Doug Bennett and John Lund Published by LeRoy Neiman Center for Print Studies, Columbia University

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

«Color Field,» Lou's largest sculpture to date, is on view starting this weekend at the Neuberger Museum of Art along with the artist's «Solid Grey» and «Color / White» canvases, two series of woven beaded works.

92 White Post Lane, London, E9 5EN www.schwartzgallery.co.uk [email protected] Private View: Wednesday 24th March 2010, 6 - 10 pm Exhibition Dates: 24th March - 4 April 2010 Thursday - Sunday 12 - 6 pm First Thursdays late opening: Thursday 1st April 6 - 9 pm, Artists - in - conversation: 2 pm, Saturday 3rd April, 2010 Curated by Patrick Michalopoulos and Ismail Erbil Schwartz Gallery presents the work of Piers -LSB-...]

It issues a formal citation of the artist's date pieces, rectangular photostats dominated by a dense, funerary black void, and accompanied by a compact series of white captions at the bottom of the image.

Inquiry's End features one of the artist's most challenging works to date: a ninety - one part wall installation titled A Pattern or Practice (2015) that uses inkless embossing to punch portions of the US Department of Justice report on the Ferguson Police Department into blank white sheets of paper, making the findings all but inscrutable to the viewer.

Felix in Exile Artist: William Kentridge born 1955 Date: 1994 Classification: installation Medium: Film, 35 mm, shown as video, projection, black and white, and so Dimensions: Duration: 8 min, 43 sec Presented by the Patrons of New Art through the Tate Gallery Foundation 1998 © William Kentridge

Hollow Form with White Artist: Dame Barbara Hepworth 1903 - 1975 Date: 1965 Classification: sculpture Medium: Elm Dimensions: object: 1346 x 584 x 464 mm Presented by the artist 1967 © BArtist: Dame Barbara Hepworth 1903 - 1975 Date: 1965 Classification: sculpture Medium: Elm Dimensions: object: 1346 x 584 x 464 mm Presented by the artist 1967 © Bartist 1967 © Bowness

December 1994 Artist: Craigie Horsfield born 1949 Date: 2000 Classification: on paper, print Medium: Photograph, black and white, gelatin silver print, on paper Dimensions: unconfirmed: 591 x 492 mm Presented by Tate Publishing 2000 © Tate

System VI, White Traffic Artist: Richard Tuttle born 1941 Date: 2011 Classification: sculpture Medium: wood, fibreboard, polystyrene foam, synthetic mesh, terracotta, halogen lamp, ceramic, vinyl?coated steel cable, wire, f Dimensions: object: 2540 x 2896 x 2896 mm Purchased with assistance from the Karpidas Family (Tate Americas Foundation) 2013 © Richard Tuttle

This past weekend, Jonathan LeVine opened their five - year anniversary group show, featuring works from an extensive list of artists who have been instrumental in the New York gallery's success, including Adam Wallacavage, AJ Fosik, Andrew Brandou, Andy Kehoe, Blek le Rat, Chris Mars, Dan Witz, Date Farmers, Dave Cooper, Doze Green, Eric White, Erik Mark Sandberg, Esao Andrews, Gary Baseman, Gary Taxali, Invader, Isabel Samaras, James Jean, Jeff Soto, Jim Houser, Josh Agle (aka Shag), Kathy Staico Schorr, Mark Dean Veca, Miss Van, Natalia Fabia, -LSB-...]

Blind James (white) Artist: Douglas Gordon born 1966 Date: 2002 Classification: on paper, print Medium: Photograph, gelatin silver print on paper mounted onto board Dimensions: unconfirmed: 610 x 653 mm Presented by the artist 2004 © Douglas Artist: Douglas Gordon born 1966 Date: 2002 Classification: on paper, print Medium: Photograph, gelatin silver print on paper mounted onto board Dimensions: unconfirmed: 610 x 653 mm Presented by the artist 2004 © Douglas artist 2004 © Douglas Gordon

Nearly all date from 1958 to 1966 and feature the artist's highly circumscribed yet richly nuanced inquiries into the relationships between paint (mostly white) and support.

Selected and installed by longtime Rauschenberg curator David White (a local resident), with the artist's other right - hand men, Charlie Yoder and Thomas Bueller, the works looked anything but dated and nothing short of ravishing.

Opening Friday September 17, from 6 pm onwards Structured around an ongoing dialogue between British artist Emily Wardill and artist / curator Ian White, the solo exhibition «windows broken, break, broke together» is the most extensive exhibition of Wardill's films to date.

AS THE LAWRENCE WEINER RETROSPECTIVE at the Whitney Museum fades to white under multiple coats of Kilz and latex paint, and his various exuberant ephemera take up residence at LA MoCA before wending their way back to their rightful property owners; as Tate Modern and the ICA London emerge from momentary spells of whispered headlines, random sketching, streams of consciousness, and face slapping; as New York's New Museum concludes its vestigial assault on the Work of Art, not to mention the etiquette of proper spacing, and as visitors to the new building experience the worst case of buyer's remorse since the reopening of the Museum of Contemporary Art, Chicago; as the Metropolitan Museum's Dutch paintings readjust to the staid organizing principles of artist's name, date, and genre rather than hanging according to who bought what from whom (on whose advice) and resold it to so - and - so, who then donated it to the Met; and as the scent of modesty - prosaic, charcoal filtered, crystalline - emanates from the 2008 Whitney Biennial, now is as good a time as any to talk about money.

Free Wheeling, 1971; Etching with hand - painted acrylic colors on White German Copperplate paper (unique); Signed, dated and noted Printers Proof; 30 5/8» x 21 5/8» (plate); 42 1/8» x 30 1/8» (sheet); Literature: Harrison 31; Berggruen 32; Clark 35; ULAE 21; NGA 18; Provenance: The artist; Donn H. Stewart, thence by decent; Private Collection Signed, dated and noted printers proof in pencil lower recto.

HELEN FRANKENTHALER Frankenthaler Deep Sun (H. 119) etching and aquatint in colors, 1983, on White St. Armand handmade, signed and dated in pencil, numbered 52/54 (there were also 16 artist's proofs), with the Tyler Graphics blindstamp, with full margins, in very good condition, framed S. 30 x 39 in.

HELEN FRANKENTHALER (B. 1928) I Need Yellow (Harrison 40) lithograph in colors, 1973, on White Chatham British handmade paper, signed and dated in pencil, numbered 27/29 (there were also 5 artist's proofs), with the ULAE blindstamp, West Islip, with full margins, pale scattered foxing, a diagonal crease (inherent in the paper manufacture) at the lower right margin edge, otherwise in very good condition, framed L. 17 x 11 1/2 in.

Straight ahead are back - to - back gems — among them a white Infinity Net by Yayoi Kusama, «Date Paintings» by Japanese artist On Kawara, and Richard Prince's Runaway Nurse — lining the staircase that leads downstairs.

Pompeii Forte, 1976 - 82; Drypoint, etching, sugar - lift etching, sugar - ground etching and aquatint on White CM Fabriano Classico paper; Signed, dated and numbered 2/5; 12 1/4» x 21 1/2» (plate); 22» x 30 1/2» (sheet); Literature: Harrison 88; Provenance: The artist; Donn H. Stewart, thence by decent; Private Collection Signed, dated and numbered in pencil lower recto.

HELEN FRANKENTHALER (B. 1928) White Portal (Harrison 10) lithograph in colors, 1967, on Arches, signed and dated in pencil, numbered «H / C 5/7» (an hors commerce impression, the edition was 18 plus 4 artist's proofs), published by ULAE, West Islip, New York, with full margins, pale light -, mat and time staining, the colors slightly attenuated, otherwise in good condition, framed L. 18 3/4 x 14 3/4 in.

HELEN FRANKENTHALER (B. 1928) Pranzo Italiano (Harrison 44) etching and aquatint in colors, 1973, on White Fabriano, signed and dated in pencil, numbered 34/43 (there were also 3 artist's proofs), published by 2RC Edizioni d'Arte, Rome, with full margins, two pale foxmarks in the lower margin, moisture staining at the lower sheet edge (associated pale foxing, primarily visible on the reverse), occasional pale surface soiling in the margins, otherwise in good condition P. 8 1/2 x 7 7/8 in.

Artists: Martin Soto Climent, Anne - Lise Coste, Ryan Foerster, Jesse Harris, Jeremy Jansen, Jenine Marsh, Marlie Mul, John Riepenhoff, Sara Greenberger Rafferty, Brie Ruais, Gee Vaucher, JPW3 Exhibition title: Road to Ruin Venue: COOPER COLE, Toronto, Canada Date: June 10 — July 18, 2015 Photography: images courtesy of the artists and COOPER COLE, Toronto JPW3, Hot Pot Charmer (Flamingo), 2014 Jeremy Jansen, Charm Bracelet, 2013 — 2015 Brie Ruais, Corner Push (White), 131 lbs, 2014 Ryan Foerster, Failed Laminating Photos, Fuck Holes, 2012 — 2014 Anne Lise Coste, The Eye, 2013 Marlie Mul, Air Vent / Butt Stop (Mainstream / Sidestream), 2015 John Riepenhoff, Handler, 2015 Jesse Harris, Evergreen, 2015 Sara Greenberger Rafferty, Window Piece, 2011 Jenine -LArtists: Martin Soto Climent, Anne - Lise Coste, Ryan Foerster, Jesse Harris, Jeremy Jansen, Jenine Marsh, Marlie Mul, John Riepenhoff, Sara Greenberger Rafferty, Brie Ruais, Gee Vaucher, JPW3 Exhibition title: Road to Ruin Venue: COOPER COLE, Toronto, Canada Date: June 10 — July 18, 2015 Photography: images courtesy of the artists and COOPER COLE, Toronto JPW3, Hot Pot Charmer (Flamingo), 2014 Jeremy Jansen, Charm Bracelet, 2013 — 2015 Brie Ruais, Corner Push (White), 131 lbs, 2014 Ryan Foerster, Failed Laminating Photos, Fuck Holes, 2012 — 2014 Anne Lise Coste, The Eye, 2013 Marlie Mul, Air Vent / Butt Stop (Mainstream / Sidestream), 2015 John Riepenhoff, Handler, 2015 Jesse Harris, Evergreen, 2015 Sara Greenberger Rafferty, Window Piece, 2011 Jenine -Lartists and COOPER COLE, Toronto JPW3, Hot Pot Charmer (Flamingo), 2014 Jeremy Jansen, Charm Bracelet, 2013 — 2015 Brie Ruais, Corner Push (White), 131 lbs, 2014 Ryan Foerster, Failed Laminating Photos, Fuck Holes, 2012 — 2014 Anne Lise Coste, The Eye, 2013 Marlie Mul, Air Vent / Butt Stop (Mainstream / Sidestream), 2015 John Riepenhoff, Handler, 2015 Jesse Harris, Evergreen, 2015 Sara Greenberger Rafferty, Window Piece, 2011 Jenine -LSB-...]

Girl with a White Dog Artist: Lucian Freud 1922 - 2011 Date: 1950 - 1 Classification: painting Medium: Oil paint on canvas Dimensions: support: 762 x 1016 mm Purchased 1952 © Tate

A pioneer of Conceptual Art and author of the renowned Inside the White Cube, Brian O'Doherty / Patrick Ireland's enduring obsession with themes of language, perception and identity are represented by a selection of his works from the IMMA Collection dating from 1954 onwards and include a major new Rope Drawing which is a recent gift to IMMA by the artist, entitled: The doors to good and evil and the windows to heaven - Christina's World, Rope Drawing No # 124, 2015.