Sentences with phrase «white panel drawings»

Not exact matches

He said, «I have been fully briefed on the contents and context of the report and we have agreed to set up a technical committee that would draw up an implementable recommendations known as white paper on the views of the two owner states on the report of the Visitation Panel.

The 2003 white paper that drew such strong criticism from Spearow, who called it «disturbing» and «misleading,» was coauthored by Rochelle Tyl, another member of the EPA advisory panel.

The white makes it perfectly daytime appropriate, while the side paneling draws all the attention into a smaller version of yourself that the dress has carved out for you.

Commenting on the school's contribution to the project, Rye St Antony's Head of Art and Design Jenny White said,» Each of these panels will seek to draw connections between the story of creation in Genesis and the contemporary challenge to overcome hostility and division by caring for the planet.

Although Gloeckner's fictionalized diary isn't rendered exclusively in panels, her intermittent fine - lined black - and - white drawings are essential to the gravity of the story, so it seems comfortably at home on this list.

A lackluster small 3.6 inch screen that «the LCD panel produces washed out colors, and blacks with a purple / white hue, like it was drawn on with a cheap black felt tip pen.

It was the first introduction of our «Memorial Banners» — eight foot white fabric panels that we asked people to sign or draw pictures commemorating a pet with cancer.

Underneath her vibrant layers of oil paint, cut and torn pieces of heavy white drawing paper cover a rectangular panel.

He began to create drawings in white chalk upon these blank paper panels throughout the subway system.

Working exclusively in black and white, Yoshimura prepared a series of aluminum - mounted on wood panel pieces where he draws intricate imagery using marker, acrylic, spray, and grease pencil.

Inspired by the graffiti artists whose marks covered the city's subway cars, Haring began to draw in white chalk over the black paper used to cover vacant advertising panels.

In a decisive move away from the experimental monochromatic series of white, black, and red paintings he created between 1951 and 1953, Rauschenberg began Collection by covering three panels with red, yellow, and blue fabric and layering them with innumerable collaged, drawn, painted, and sculpted elements.

DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New Paintings by Charles Schultz LOIS DODD New Panel Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler

He first made a name for himself in the 1980s when he began using white chalk to draw on unused advertising panels found in subway stations, he would make upwards of 30 drawings a day and he became well known to the commuters who would often converse with the artist while he was working.

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).

The same year he began exploring the idea of monochromatic canvases — a series of acrylic drawings consisting of white and off - white squares arranged into groups of three to five panels — but tabled the idea a year later to focus his attention on paintings organized around a nine square grid structure.

Franz Ackermann's three - dimensional panels comprising of cartographic watercolour drawings and black and white photographs reflect the bare bones of urbanisation as well as globalisation.

Longo's «Strike the Sun» at Petzel Gallery includes a massive seven - panel black - and - white charcoal drawing that visions the nation's capitol building with all the gothic foreboding of the Star Wars Death Star.

Yet his work actually encompasses such diverse items as a black - and - white painting based on flickering light on the Seine, gridded paintings with squares of color arranged by chance, weathered steel panels, floor pieces, multi-panel paintings, contour drawings of leaves and collages on postcards.

The title referred to then three - year - old Isis, whom she was thinking about while she made the works — fourteen paintings, two black and white wall drawings, hanging Plexiglas panels, a video, and a figurative neon - tube sculpture.

Her drawings are influenced by the small sixteenth century panel paintings of the Low Countries, while their lush black - and - white tonalities evoke early found photographs on which they are often based.

That same year Erik began experimenting with monochromatic works — a series of acrylic drawings consisting of white and off - white squares arranged into groups of three to five panels — but tabled the idea a year later focusing his attention instead on paintings organized around a nine square grid structure (3 rows x 3 columns).

The negative space, where the wall intrudes and is incorporated as part of the composition in this central panel echoes the white section in the drawing; otherwise, the color departs from blacks and whites to earth colors.

all the while technology makes cars get higher mpg, solar helps entire nations power themselves — hell, even the white house is putting up solar panels, and the branches of the US military are prepping to draw 25 % of all energy from renewables in a few years, and electric cars whiz around, and LEDs use 75 % less energy.

White paneling that extends almost all the way up the wall draws attention to the room's unique sloped ceiling.