Sentences with phrase «white text painting»

Both the white text painting and the neon installation were on view in «Glenn Ligon: AMERICA,» Ligon's comprehensive mid-career survey at the Whitney Museum in 2011.

IT WAS THE FIRST LOT OF THE NIGHT, a white - on - white text painting by Glenn Ligon.

The white on white text painting, executed with oilstick, graphite and gesso on panel, was originally painted in 1990 and enhanced in 2003.

The artist's first widely acclaimed body of work was his bold black on white text paintings that were the chosen words and phrases were all - American mantras.

Not exact matches

Besides the vinyl wrap, the custom Model 3 also features darkened exterior glass courtesy of 3M's Crystalline window tint, as well as painted brake calipers and Tesla's logo text in black instead of white.

The exquisite watercolor paintings are each framed with a thin black line and set apart from the text by the use of white space.

With vivid paintings and clear, accessible text, Roy creates a heart - stopping look at what great white sharks do best — hunt for their next meal.

Gilliam's paintings on view at David Kordansky look mostly to me like one of the more recent cover designs for JD Salinger's Catcher in the Rye, which is white with simple text and a streak of rainbow angled diagionally across the top left corner.

Highlights include Pam Lins's Red White and Blue (2013), a trio of ceramic drum sets perched on USPS boxes repurposed as pedestals, and Caitlin Keogh's paintings reworking extracts of text from Dior by Dior and The Ravishing of Lol Stein by Marguerite Duras into hypnotic patterns.

More than many of White's contemporaries, the artist enjoys the spatial illusion of paint, creating areas of color that read completely flat while other passages extrude and recede, impressions often complicated by the introduction of objects and her recent experiments with text.

There is also a sense of tame psychedelia that pervades in all three artists» works, from Bergstrom's small formalist paintings that use text as a compositional device — a blue and white canvas that spells Bad Trip, abstractly scrawled across the canvas — to Norton's An Altered State, where peyote and poppies are pressed between sheets of glass and fired, installed on the wall.

Iman Issa, framed c - print from Common Elements, 54 framed text panels, 14 framed c - prints, five wooden sculptures, five painted white plinths, sources» panel / caption, installation, 2013

Between and Including, Set H, 1998 framed black and white photographs and texts on painted wall dimensions variable acquired in 2008

Thomas Chimes: The Body in Spirals, 2014 Text by Kelsey Halliday Johnson 84 pages, Softcover Published by Locks Art Publications ISBN: 978 -1-879173-95-8 While much of Thomas Chimes's (1921 - 2009) work is deeply indebted to literature, each body of work (his metal and plexi box constructions, drawings, and later white paintings) maintained structured systems that dictated the composition - a process - based manifestation of the classicist and symbolist ideals in his work.

Gardar Eide Einarsson will be represented by a new text painting rendered in black, white, and gray.

In a monumental painting that spans one wall of the gallery, white text on a black background explains the different codes that cartographers employ to represent various features of the land and sea, thus highlighting the process of mapping as a symbolic act.

New York, Solomon R. Guggenheim Museum; Baden - Baden, Staatliche Kunsthalle; and Bremen, Kunsthalle Bremen, Twentieth - Century American Drawing: Three Avant - Garde Generations, January - August 1976; Baltimore, The Baltimore Museum of Art; Detroit, The Detroit Institute of Arts; Chicago, Museum of Contemporary Art; New York, The Metropolitan Museum of Art; Amsterdam, Stedelijk Museum; Paris, Musee National d'Art Moderne, Centre Georges Pompidou; Cologne, Museum Ludwig; and Basel, Kunstmuseum Basel, Barnett Newman: The Complete Drawings, 1944 - 1969, April 1979 - July 1981, pp. 70 - 71, no. 19, illustrated in color and black and white (in different orientations)(Baltimore); n.p., no. 19, illustrated in color (Amsterdam); p. 13, no. 19, illustrated (Paris); p. 13, no. 19, illustrated in color (Cologne); p. 13, no. 19, illustrated in color (Basel) Providence, Rhode Island, Bell Gallery, Brown University; Worcester, Massachusetts, Cantor Art Gallery, College of the Holy Cross; and Southampton, New York, Parrish Art Museum, Flying Tigers: Painting and Sculpture in New York 1939 - 1946, April - July 1985, p. 78, no. 37, illustrated; Minneapolis, Walker Art Center; Saint Louis, The Saint Louis Art Museum; and New York, The Pace Gallery, The Sublime is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944 - 1949, March - November 1994, p. 49, no. 17, illustrated in color and p. 20 (text)

His 2010 wall painting Credit Roll reproduced the names of blaxploitation films of the 1970s in white text over brown paint.

Making a name in the New York art scene in the early 1980s, Christopher Wool is best known for his word paintings, white canvases with black stenciled letters spelling out text like «Sell the house, sell the car, sell the kids» (in his 1998 work Apocalypse Now).

Hence there's May Hands `, «Endless Euphoria (Calvin Klein)» (2014)-- a minimal white netted canvas dotted with the fashion house's perfume cards — next to «Guilty, (Gucci)» (2014) and Deanna Havas «s «Regrind (4)», a papier mâché plaque on foam crudely painted with brands, a browser window and fragments of text including, «Brand Name: Famous».

Fine lines of cadmium yellow text on white ground in another group of paintings were made almost invisible by their intensity, as though the viewer had moved from the darkness of the void to the brightness of the sun.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezePaintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freezepaintings reimagine the still life as a chance freeze - frame.

As a result, each bold line and cross-hatch the artist used to construct the image is vividly communicated, revealing White's signature style, which blends gestures of painting, printmaking, and drawing with text to create new visual content.

There is also a lot of strong monochromatic painting, by artists like Marcia Hafif (a small, bright, handsome, yellow enamel square), Olivier Mosset (a small off - white square, typically flat and deadpan), Kathy Drasher (a warm, peachy decagon with a poetic bit of text) and Daniel Levine (another square, this one an ethereal, almost glowing, white).

Commissioning works of art based on these segmented portions of famous texts, Painting Between the Lines fills in the visual information that is left out of the organization of black - and - white letters on each literary page.

His selection spans black and white photography, painting and text installation with shows running from now until October so there's plenty of time to catch some visual art in Chichester, Hastings and Oxford.

In his decision to work directly on the wall, the artist's hand is clearly visible, via handwritten text in English, French and Flemish, scribbles of white chalk and uneven brushstrokes leaving drops of black paint that almost hit the floor.

Popularized by Rev. Jesse Jackson, Ligon appropriates the phrase for a painting with black text against a white background.

«Of the just twenty - one door paintings ever produced by the artist, the present work is the only monochromatic example with white text on a white ground, making it a supremely rare paragon of Ligon's most acclaimed body of work,» the essay notes.

Exhibited at Karsten Schubert are a number of white - on - white paintings of a kind not previously shown; the colours of the new paintings are more sombre and the texts embedded with them again become the central preoccupation for the artist.

Standouts include Mary Jenewein's wall - mounted dioramas of scenes of Latin American poverty, degradation and rebellion (an interesting evolution from her series of Abu Ghraib portrayals); Kelli Vance's paintings of a couple's shaving routines, which are ambiguously threatening; and Charles Mary Kubricht's black - and - white photographs documenting the West Texas landscape, presented alongside text describing disturbing Border Patrol activities.

Viewed aesthetically, the composition of the piece — the weight of the letters fluctuating with each line, the spacing between the lines methodically decreasing as the text progresses, the winding italics creating rhythmic markers on a background of «ghost text» from the same selection peering through a thin overcoat of white paint — encourage appreciation of the textural qualities of the written word.

This performance extended outside the confines of the structure into the wider gallery space, containing wall - based neon sculptures of a muscular faun, black and white photographs of a naked couple in choreographed poses, text - based brightly coloured paintings, and abstract sculptures reminiscent of limbs, rendered in concrete and highly polished white plaster.

At London and Brussels - based gallery MOT International, Laure Prouvost's monochrome text - paintings make concessions to reality: «Ideally,» one black - and - white sign reads, «this sign would be a pink little cloud in the middle of the room.»

There were archival photographs of a 1980s punk - band performance in which the backdrop was a 1920s social - protest graphic depicting workers in blocky black - and - white shapes with the text tag der freiheit (day of freedom).6 She paired Warhol's disaster painting 129 Die in Jet!

Sound installation and performance: space painted white, historical speeches translated into applauses, recorded applauses, white speakers, white text in the wall with the historical information on the speeches, security guards with dogs randomly walking into the space

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

Having begun his career as a production designer for Pee - Wee's Playhouse, White is now recognized for his clever and beautifully rendered text paintings.

The 2011 text paintings (blue, white or ochre), with their phantom - like effect in which the pure and minimal form is no longer the privilege of the language, gradually open onto the next series.

There are also Glenn Ligon's small paintings of text taken from «Invisible Man,» Ralph Ellison's 1952 novel, that reflect notions of black identity; Nikki S. Lee's photographs of herself made - up and dressed to fit into different communities — hip - hop, punk, rural white; and Catherine Opie's portraits of lesbian, gays, bisexuals and transgender people in Los Angeles.

Nazi War Cave # 1 (1985), a black - and - white acrylic painting, also from Plato's Cave, Rothko's Chapel, Lincoln's Profile, features some similar crystalline imagery and its own provocative text snippets running along the margins.

Additionally, White's paintings and sculptures have been exhibited extensively; recent exhibitions include «Big Lectric Fan to Keep Me Cool While I Sleep,» Rice Gallery, Houston; Art Miami Basel outdoor installation wrapping the exterior of the Wolfsonian (Miami) in text «Beauty is Embarrassing.

To achieve the clotted density of xeroxed text, Jack Whitten dragged afro combs and saws through thick sheets of black and white paint.

Among Ligon's own contributions to «Encounters and Collisions» were several works with texts that employ the first - person pronoun: In Untitled (I am drawn to sleaze...), 1985, the parenthetical phrase has been handwritten across an expanse of juicy oil pigment; in Untitled (I Lost My Voice I Found My Voice), 1991, the text was repeatedly stenciled in oil stick onto a gessoed white ground until it became illegible; in Study for Condition Report, 2000, annotations identifying damage and wear are made on a photocopy of a photograph of a painting reprising the famous protest signs declaring I AM A MAN.

Seems like it would be an easy project to re-create with some decoupage, so I did LOTS of searching on Etsy, and discovered that my favorite kinds of packets were the ones that have hand - drawn / painted illustrations, solid white backgrounds, and very clean black text on them.