Sentences with phrase «white work surfaces»

Not exact matches

After the allegations surfaced, White House Chief of Staff John Kelly and Sen. Orrin Hatch (R - UT), whom Porter worked for, came to Porter's defense, vouching for his character and saying he shouldn't resign — although they both backed off somewhat days later.

To make it easy on yourself it might be better to just cut it into squares with a pizza cutter (since your not trying to use your little heart cookie cutter because it'll look soooo cute in the pictures, you know, just as an example...) I didn't mind the white flour on the finished cookies but if you do dust your work surface with carob powder instead.

Sherwood worked with the forward during his brief tenure at White Hart Lane and, speaking before news of Adebayor's Spurs exit surfaced, admitted that he would be keen to reignite his interest in the striker if Adebayor became available.

Purchased plain white T - shirt of good quality (in grandma's size and toddler size) Different colors of fabric paint Old plastic containers Flat work surface covered in newspaper

Sam Bell, played by Sam Rockwell, toils alone in a stark - white base, working as a glorified handyman for Lunar Industries, an ominously glossy corporation that extracts helium - 3 from the lunar surface to fuel fusion reactors back on Earth.

That said, Dr. White puts depilatories — which work by dissolving hair at the surface of the skin — on the safer end of the hair removal spectrum.

The endothelium lines the interior surface of all your blood and lymphatic vessels and is responsible to help with healthy blood clotting, inflammation, formation of new blood vessels, blood pressure regulation, repair of damaged organs and also working with your white blood cells.

While most of Marshall's work is in the south, the Spell case lands him in the wealthy white enclaves of Connecticut, where racism is never far from the surface.

As the collar begins to work, a fine white powder will appear on the surface.

In the fully equipped kitchen, polished stone floors are cool underfoot, while white quartz countertops make for a chic yet practical work surface.

The kitchen has large mirrored back walls, soft grey marble work surfaces and white cupboards and is fully equipped with refrigerator, and gas hob.

In these works the colour was bleached, the paint surface smooth, and the light conceived as a revealer of detail, e.g. Girl with a White Dog, 1951 - 2 (Tate Gallery).

Here, he has not only slashed through the pristine white surface with twenty - four of his iconic cuts — the greatest number that he would ever commit to one canvas — but has also added a further dimension to the work by enshrouding it in a black lacquer frame, which glistens with reflections of the world around it.

In works like WB - 1627, the dark grey showing through is the specially prepared canvas surface; and the solid, velvety light areas are unmarked portions of carefully applied, rich white oil color.

You can look for a long time at the surface of some of the oils made around 1960 and still make new discoveries: a shift in colour and texture at the right - hand edge of a work; a tiny, at times invisible, splash of bright green, pink, or turquoise; or a sharp white rectangle at the very bottom, half obscured by thicker ice - cream folds of paint.

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

In the present work, forty - one lengths of striped, brightly coloured cord run at equal intervals horizontally through a vast, textural black and white surface, which is formed from impacted layers of paper that Bradford has abraded with sanding tools.

IL LEE offers the negative of his well - known ballpoint pen works — here a dark ground of oil stick and paint on canvas is rendered white by scraping lines into the surface with an ink-less pen.

Pivotal to the artist's oeuvre was his shift in 1960 to the employment of white monochrome surfaces and geometric, grid - based compositions, represented in the exhibition by works including Relief, 1964; 48 Squares, 1965; 2 Richtingen Om en Om (2 Directions On and On), 1967; as well as R70 - 28, 1970 (collection of The Museum of Modern Art, New York).

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

Taylor's «B» is angled to remind us that it has been applied on the flat surface of the picture, not on the door in illusionistic space; the white drips on the floor could be in the room itself, or a result of his vigorous work on the canvas.

The exhibition will feature historic and recent prints of black - and - white and color photographs, books, periodicals, films, portfolios and digital works, including many that have never been published or exhibited, from his Conceptual projects, the American Surfaces and Uncommon Places series, his landscapes of the 1980s, commissions and his recent explorations of Israel and Ukraine.

Tensions surfaced last September in protests against the Contemporary Art Museum here around a show of work by a white artist, Kelley Walker, that included images of black bodies smeared with chocolate and rainbow - colored toothpaste.

He works simultaneously with vivid colours and large empty white surfaces, where everything takes place at the margins.

«While several of Jackson Pollock's contemporaries combined black and white, his black paintings were exceptional in their absolute merging of color and surface, which went over and above what Pollock himself had previously achieved; this is a crucial difference for many contemporary artists revisiting Pollock's work today,» said Delahunty.

He still works with hard edges and geometry here and there, but the white circles, diamonds, triangles, and tapered rectangles seem to float more freely above the surface.

These works demonstrate the artist's continued commitment to the exploration of process, surface, and repetition, channelled here in the form of the white monochrome.

Adding and obscuring in rotation, she builds a surface of thickly textured impasto from alternating layers of black and white, creating a body of work that engages both with the figurative tradition of Pop illustration and the action and materiality of Abstract Expressionist gesture.

For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the canvas — making it into the subject of the work, but instead of cloth, the «canvas» here is woven out of unified, off - white glass beads.

Instead of covering his works in an even white slip, he allows thickly applied brushstrokes to drip down the surface of the receptacles.

Additional content is literally embedded within the work via a transfer of pigment from magazine pages, paper memorabilia and the surfaces of objects, applied either directly to the canvas or as a tinting agent in white paint; the result is a direct transcription of surface (area) minus structure.

Each work in Witmer's austere Winterbrook (2015 17) series of six small panels brings out a different relational quality between paint and canvas: black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another panel's surface appear taut and tremulous like drumskin.

This image of the work turned on its side, made from an archival slide, documents the drips of white paint that marked the work's surface until Rauschenberg covered it with a fresh coat of black paint.

In the first work here — «Untitled # 17» from 1958 — the textured white oil paint recalls abstract Guston, while a faint line of blue fissuring down the surface is reminiscent of Clyfford Still's craggy abstractions.

The show also includes graphite works on paper and paintings from the 1990's, which demonstrate Knifer's consistent reductionism, pushing «the meander» to the edge of the canvas to create nearly monochrome black or white surfaces.

Take the striped paintings in faded pastels of the Seventies, which look like chic, sun - bleached beach towels tacked to the wall, or The Islands, a spellbinding series of 12 rich - and - creamy «white» paintings from 1979... Often, with Martin's major works, there appears to be a hazy mist between their surfaces and us.

Displayed in the downstairs gallery is a series of new unique monochrome works, The Named Series, the surfaces of which consist of white wall paint carefully removed from prominent museums and public galleries by professional conservators, using techniques employed to restore frescoes and murals.

Create a neutral background for your artwork (white generally works well) with a sheet or blank surface.

A child - like puppy - face motif also summons a primitive female form, and a white wall emerges as a textured surface only when the light renders shadows upon it — Black is interested in the alteration of the viewer's orientation and relationship to his works over time.

2009 Willy Loman: The Rise and Fall, Stephen Friedman Gallery, London, England Party Time: Re-Imagine America - A Centennial Commission by Yinka Shonibare MBE, Newark Museum, 1 July - 3 January 2010 A Centenary Commission, 26 February - August 2009 Dublin City Gallery The Hugh Lane, Ireland A Flying Machine for every Man, Woman and Child & other Astonishing Works, Santa Barbara Museum of Art, California, USA A Flying Machine for every Man, Woman and Child, Miami Art Museum, Miami, USA Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and National Museum of African Art Smithsonian Institution, Washington D.C, USA 2008 Odile and Odette, Savannah College of Art and Design, ACA Gallery, Atlanta, USA Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and the Smithsonian, Washington D.C., USA Prospero's Monsters, James Cohan Gallery, New York, USA 2007 Scratch the Surface, National Gallery, London, England Jardin d'Amour, Musée du Quai Branly, Paris, France White Flag at Half Mast, commission for the Jubilee Flagpole, Hayward Gallery, South Bank Centre, London, England Summer Show, New York Gallery, New York, USA

These works of art elicit diverse aesthetic responses to white, reflective surfaces, and the play of light and shadow contrasted with solids and voids.

Emerging from her use of objects in her paintings and her inclusion of found objects in her ephemeral site - specific works, these new painting - sculpture hybrids contrast monochromatic white and black areas with brightly - hued squiggles, splashes, stripes, and mazes and investigate what happens when a canvas and an object become a simultaneous and continuous surface for painting.

He shows his range in these later works gleefully inventing and exploiting new spaces in the picture plane: 1951's Every Atom Glows: Electrons in Luminous Vibration is a delicate black - and - white oil painting, while his Alabama II, 1969, is a strong protest work — a rectangular field of red in which a triangular wedge evoking bodies marching or a megaphone's amplified language emerges in glossier red on the painting's surface.

In each work, White has intentionally left strips of surface area completely blank, emphasizing the arbitrary cutting, cropping, and breaking of images — a regular feature in contemporary visual language, and one to which we have become increasingly inured.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Castellani's White Surface series allowed him to pursue his interest in light, which he manipulates through the «extroflexions» and «introflexions» created by rhythmically placed nails; a 1959 work from this series was exhibited at his first solo show at Azimut in 1960.

For other artists, the works are representative, but lesser - known: the figures in Pistoletto's mirrors are fibreglass and bronze sculptures, rather than painted onto the surface; Boetti's maps are serigraphed rather than embroidered; Castellani's textured white surface is paper rather than canvas.

Guston often worked on a wet wall of paint - a full - on surface of fresh titanium or titanium and lead white and started to draw.

Over time, my production has evolved from black and white photographic portraits and narrative videos to creating hybrid «sites», images and installations employing photographs, videos and film, archives and found materials, projected sounds and reflective surfaces, works focusing on the individual's role in history and in time.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.