Sentences with phrase «white ink painting»

Born in Haifa, Israel, in 1955, Patkin first gained recognition for his innovative approach in the mid-1980s with «The Black Paintings,» a series of white ink paintings on black rubber curtains.

Laura Stack's organic hyper - color paintings and Shana Kaplow's tall black and white ink paintings are featured at Peterssen / Keller Architecture in Minneapolis.

Not exact matches

All around us are reflective surfaces that provide contrast through pigments — black pigments like carbon black, white pigments like titanium dioxide, which we can find in paints and in inks — and we're accustomed to interacting with these reflective surfaces, as they provide pleasant experiences under a wide range of lighting conditions.

Looking closer, Everhart began to see echoes of Chinese ink paintings and the black - and - white paintings of abstract expressionists of the»40s and»50s, such as Franz Kline, Willem de Kooning and Robert Motherwell.

His black - and - white works combine paper cutouts, charcoal and paint, and occasionally, gouache, tempura and ink.

Exhibited alongside the 35 early to mid career paintings of portraits, adolescents and companion cats in striking interiors are 40 black and white ink drawings from the book Mitsou.

Still Life with Four Blue - Green Stripes, Two BB Holes and White Drips / 2015 / oil, acrylic, spray paint, glue, mud with polymer medium, gesso, ink, smoke stains, and floor sweepings on canvas / 84» x 30» / PLS INQ

This he referred to as his «found drawing»; it created a fluidity between his painting, sculpture and printmaking: «I loved the idea that simply inking the surface of the plywood board would produce a web of white lines, if one only pressed a piece of paper against it.

Already using black - and - white palette in a series of ink on paper sketches, Kline now expanded the method employed the canvas and house - painting brushes that enabled him to create broad strokes of dark color intersecting the white background.

In contrast, Mark Tobey used black and white to evoke the lyrical brushwork of Japanese calligraphy, in the form of a serenely organic ink painting.

In 1951 — 52 Pollock turned away from color, just focused on black and white, just dripping and pouring the black ink on the pain canvas, those beautifully inked and juicy paintings.

Yes, in the early»50s, he had indulged in some pretty extreme gestures: making paintings of perfectly uninflected white, whose only formal content is the square or rectangular shapes of the abutted panels on which they were painted, or making a print some 24 feet long by inking one of the tires on his friend John Cage's Model A Ford and having him drive across the paper.

«Since 1949... I've been working mainly in black and white paint or ink on paper.

Unlike the black - and - white formats of the ink portraits of the 1960s, the large paintings revisit traditions of modernist painting such as the checkerboard works of Piet Mondrian and the Alphabet paintings of Jasper Johns while depicting everyday speech in a variety of color palettes.

Even Christopher Deeton's black - and - white paintings derive their symmetry less from Ad Reinhardt and Reinhardt's black paintings than an ink blot.

New York - based Swiss artist Olaf Breuning's recent work consists of hand - painted ceramic sculptures exhibited alongside black ink and white paper drawings.

The resulting works in colour and black and white photographs, ink and pencil drawings and paintings in watercolour and oils create a fascinatingly obsessive and emotional study of one woman: the model Kristen McMenamy.

First I painted them, and then hung transparent plastic panels on them and... got the colors and the positioning right (the image was very often fairly complex, and I only had a black - and - white ink drawing: it wasn't easy to pull out the colas from the complex web of white lines).

A Memory of Death, 2015 ink on white gesso and aluminum painting: 92 x 90 1/2 inches (233.7 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) unique IK - 53

Everything Turns to Grey, 2015 ink on white gesso and aluminum painting: 92 1/2 x 90 1/2 inches (235 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) IK - 35

White triangles hover like patches of fog over soot - ink paper space in a painting by Joey Piziali.

BLACK AND WHITE: JAPANESE MODERN ART The austere aesthetic of traditional Zen ink painting intersects with the influence of Western modernists in a grouping of avant - garde Japanese works centered on Inoue Yuichi's large calligraphy of a character meaning «filial piety.»

Rooms Are Never Finished, 2015 ink on white gesso and aluminum painting: 92 x 90 1/2 inches (233.7 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) unique IK - 52

These prints represent all manner of special processes and innovative techniques in printing — such as using linen and cotton pulp paint and photo - luminescent inks; black and white and colored lithography; creative integration of collage and cut paper; incorporation of photographic images into digital prints; screen printing; and many others.

Rooms Are Never Finished, 2015 ink on white gesso and aluminum painting: 92 x 90 1/2 inches (233.7 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) IK - 52

NARI WARD Royal, 2017 U.S. currency edges, acrylic paint, indelible ink, overproof white rum, and used cash register drawers on wood panel 68.75 x 56.75 x 4.5 inches 174.6 x 144.1 x 11.4 cm LM25282 Photo: Max Yawney Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Idris Khan Everything Turns to Grey, 2015 ink on white gesso and aluminum painting: 92 1/2 x 90 1/2 inches (235 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) IK - 35

NARI WARD National (detail), 2017 U.S. currency edges, acrylic paint, indelible ink, overproof white rum, and used cash register drawers 68.75 x 56.75 x 4.5 inches 174.6 x 144.1 x 11.4 cm LM25286 Photo: Max Yawney Courtesy the artist and Lehmann Maupin, New York and Hong Kong

Idris Khan Rooms Are Never Finished, 2015 ink on white gesso and aluminum painting: 92 x 90 1/2 inches (233.7 x 229.9 cm) framed: 93 1/4 x 91 1/4 x 2 1/2 inches (236.9 x 231.8 x 6.4 cm) unique IK - 52

NARI WARD Hanging study, 2017 U.S. currency edges, acrylic paint, indelible ink, overproof white rum on wood panels, wooden saw horses, and Kraft paper 11 panels: each, 24 x 18 x 1.5 inches, 611 x 45.7 x 3.8 cm installed dimensions variable LM25289

NARI WARD Tec (detail), 2017 U.S. currency edges, acrylic paint, indelible ink, overproof white rum, and used cash register drawers 68.75 x 56.75 x 4.5 inches 174.6 x 144.1 x 11.4 cm.

Other: Derwent embossing tools, Elmers opaque white paint marker, Daler Rowney FW Artist's Acrylic Ink: White, Sakura battery operated ewhite paint marker, Daler Rowney FW Artist's Acrylic Ink: White, Sakura battery operated eWhite, Sakura battery operated eraser

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iWhite Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite color 32 1/4 x 32 1/4 x 2 3/4 inches

White People Are the Cliff and What Comes After (2001 — 02) From the Skin Set Project (1997 ---RRB- Ink, felt - tip pen, and paint on paper 27.9 × 21.9 cm

Elsewhere in the exhibition, next to a black - and - white abstract calligraphy ink painting by Hasegawa and an untitled piece by Robert Motherwell featuring an oil paint — splash «wave» cresting through the air, Asian - American AbEx artist Satoru Abe presents The Idol (1958), an equally delicate copper and bronze skeletal monument.

Untitled, 2016 Acrylic and vinyl paints, silkscreen ink, and acrylic spray paint on primed Stonehenge paper; white frame and mat 54.5 x 37.75 inches

Like a scientist growing cultures in a lab, Jaq Chartier methodically arranges her inks, stains, and dyes to interact with layers of white paint and acrylic resin on immaculately prepared wood panels.

In addition to this key painting and its related studies, the exhibition will also present a range of works in a variety of media that attest to Albers's lifelong investigation into black, white, and grey, from ink and watercolor works on paper that pre-date his time at the Bauhaus, to gouaches executed during his tenure at Black Mountain College, to color studies that shed light on his working process.

Pentagrams and other occult - looking stars and symbols were painted in bloodlike ink on large black - and - white photos of good - looking models.

Wether depicting white or black people, she paints them all in black ink.

Chocolate Utopian Underground City with Yellow Inner Structure Station with Square Grid under Construction Safety Chrysalis and Abandon Square Habitat with White Expulsion Area and Central White Mine Tunnel Transportation Center, 2003, Ink, watercolor, pencil, colored pencil, felt - tip pen, synthetic polymer paint, and gouache on colored paper, 54 1⁄2 x 78 5/8 in.

Defying the heroic myth of abstract expressionism - the artist exploding with spontaneous invention before a blank canvas - Kline rehearsed ideas for his big black - on - white paintings in these ink drawings.

«Colony Room» presents some of Zak Prekop's new work (Pictured above: Black with Green / Blue, 2014, oil and ink on canvas, 27 x 35 inches) that utilizes a wider range of color than we saw in his 2012 series of white - on - white paintings.

Paintings, black - and - white ink drawings.

About the artists and their work: The late Anthony Ballard, known for his precise pen - and - ink drawings of erotic subjects and geometrics, has garnered significant critical attention in recent years; Mercedes Kelly's fanciful depictions of canine and feline subjects have been a crowd - pleasing fixture at the Fair over many seasons; Lawrence Pujol's refreshing country landscapes are becoming increasingly popular with collectors; Angela Rogers's «poppets» --- magical assemblages wrapped in brightly - hued yarn — incorporate intriguing mystical symbolism; Robin Taylor's «Jenny» paintings affectingly portray a young girl so bashful that her face is represented as a mop of bright orange hair; Alyson Vega's intricate fiber works, shown to great acclaim in a 2016 solo exhibition at the prestigious venue White Columns, surprise and enchant.

[14] The painting Vanescere (2007), a black - and - white composition that depicts what appears to be a maelstrom of ink and acrylic marks, some of which are sanded away on the surface of the linen support, was a catalyst picture for this series.

Also influenced by natural surroundings such as the mountainous areas of southern China, free - flowing charcoal lines and ink washes, overlaid with solid arcs and circles of white paint, in delicate, harmonious compositions are features of Zhou Li's (b 1969) work.

POPE.L Sunny Day White Power 2016 Acrylic, cellophane tape, charcoal, collage, gel medium, ink, latex mask, oil paint, oil stick, painter's tape, push pins, and rope on newspaper on shower curtain in artist's frame 90 3/4 by 74 by 24 in.

As the artist recalls in her autobiography, Infinity Net, «Deep in the mountains of Nagano, working with letter - size sheets of white paper, I had found my own unique method of expression: ink paintings featuring accumulations of tiny dots and pen drawings of endless and unbroken chains of graded cellular forms or peculiar structures that resembled magnified sections of plant stalks.»

Tec, 2017, US currency edges, acrylic paint, indelible ink, overproof white rum and used cash register drawers on wood panel, 174.6 × 144.1 × 11.4 cm