Sentences with phrase «wood paintings marked»

Shepherd presents new work from a series of stained - wood paintings marked by irregular fissures that she refers to as puzzle paintings.

Not exact matches

«This influences the physical properties of wood, stone, plastering and mural paintings, potentially causing the appearance of cracks, blisters or salt marks which can cause dangerous damage,» warns the scientist.

The survey spans a 40 - year career marked by notable inventiveness, determination and verve, from the artist's first abstract painted - wood sculptures to her most recent pop assemblages.

The composition is dominated by a large expanse of wood painted with the artist's iconic cadmium red, resulting in an area that resonates and reverberates with an intensity of color that is unrivalled in twentieth century art, except perhaps by the forces of color created by Mark Rothko on his large - scale canvases.

Ms. Shank paints primarily on wood panel which allows her to utilize a variety of tools to «make a mark of meaning».

Grooves in the wood mark its three divisions, with the artist's visible brushstrokes defining the painted surface in black, yellow, and crimson.

His paintings on wood from the 1980s are marked by forms that recall living things; these biomorphic shapes would become central to his practice.

Working in a variety of media from light to wood to paint, these artists» geometric sculptures and paintings, carefully crafted with moments of exacting perfection, delibertly retain the presence of the wayward human gesture and humble hand - made mark, imbuing them with a quiet and understated transcendental beauty.

Traces of this history are visible: shoe prints mark the stage; the wood encasing the speakers is worn, flecked with splattered paint and stained by graffiti; the television displays looped recordings of musical acts performed in front of those same speakers.

erwin wurm leaves a physical mark on deformed domestic objects triple seat (fauteuil white), 2015 polyester, wood, acrylic paint 15 kgs 60 x 87 x 96 cm (23,62 x 34,25 x 37,8 in) ed.

Beginning as a block of wood carved by the artist with chainsaw, the classic female form personified within Venus III bears the artist's angled marks before the sculpture was cast into bronze and finished with patina and paint.

The leaning works are simpler, as well, many just one shape and one mark, and when there is a material shift in the work — for example, in the move from painted wood structure to steel base in «Deft Composition (Deft Composition)» — the move is hardly as disjunctive as painted wood structure to movie poster base.

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 3/4Painted 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 inches

Mark Dion The Salmon of Knowledge Returns, 2015 Epoxy resin, steel, tar, wood, foam, paper, aerosol enamel, acrylic paints, adhesives, glass eyes, mixed media 196 x 300.5 x 90.5 cm, Collection Irish Museum of Modern Art, On loan from the artist, 2016.

Mark Manders Composition with Bright Yellow Horizontal 2010 wood, painted epoxy, painted canvas, painted wood, rope, and iron 23 1/2 x 24 1/2 x 12 inches; 59.7 x 62.2 x 30.5 cm

Mark Manders Silent Head on Concrete Floor 2011 painted wood, painted epoxy, painted canvas, offset print on paper, concrete, wood, glass 34 3/4 x 25 2/3 x 29 1/2 inches; 88 x 65 x 75 cm Menil Collection, Houston

Mark Manders Reduced November Room (Reduced to 88 %) 2000 Painted aluminum, iron, wood, ceramic, plastic 710 x 1850 x 1250 cm

Mark Manders Unfired Clay Figure 2005 - 2006 Iron chairs, painted epoxy, wood and various materials 225 x 150 x 300 cm Commissioned by the Baltic Centre for Contemporary Art, Gateshead; Dakis Joannou Collection, Athens

Mark Manders Room with Reduced chair and Camouflaged Factory 2003 Reduced wooden chair, painted iron, painted aluminum, painted ceramic, painted wood, shoes, clothes, contact lenses 155 1/2 x 114 1/8 x 147 1/4 inches; 395 x 290 x 374 cm Installation view Mark Manders: Isolated Rooms, The Art Institute of Chicago, IL, 2003 - 2004.

Mark Manders Room with Unfired Clay Figures 2011 - 2015 Painted bronze, iron, wood, offset print on paper 93 3/8 x 141 1/2 x 51 inches; 237.2 x 359.4 x 129.5 cm (large figure) 74 5/8 x 115 5/8 x 41 inches; 189.5 x 293.7 x 104.1 cm (small figure) Edition of 3, 1 AP

Mark Manders Working Table 2012 - 2013 Painted epoxy, painted wood, painted canvas, iron, offset print on paper 145 x 56 x 88 1/2 inches; 368 x 142 xPainted epoxy, painted wood, painted canvas, iron, offset print on paper 145 x 56 x 88 1/2 inches; 368 x 142 xpainted wood, painted canvas, iron, offset print on paper 145 x 56 x 88 1/2 inches; 368 x 142 xpainted canvas, iron, offset print on paper 145 x 56 x 88 1/2 inches; 368 x 142 x 225 cm

Mark Manders Dry Head on Wooden Floor 2015 Painted bronze, iron, wood, vitrine 55 3/8 x 76 x 51 1/8 inches; 140.7 x 193 x 129.9 cm (overall) 20 x 73 x 48 inches; 50.8 x 185.4 x 121.9 cm (sculpture) 35 1/2 H x 51 1/8 x 76 inches; 89 x 193 x 129.9 cm (pedestal) 35 7/8 H x 74 x 49 1/8 inches; 91.4 x 187.3 x 124.5 cm (vitrine) Edition of 3, AP

Marking Matt Johnson's second solo show with 303 Gallery, this exhibition presents a selection of sculptures in carved, bent and painted wood.

I'm imagining that these ten paintings will be shown somewhere, in the future, but these trompe l'oeil architectural beams, the vertical lines of silkscreened wood grain, fragments of which will appear in these ten paintings, are just going to become abstract compositional marks.

FINE IMPRESSIONS GALLERY: 8300 Fifth Ave. N.E. New work by George Ciargi (nighttime photography), Christopher Nowicki (mezzotints), Laurent Schkolnyk (mezzotints), Tom Tiberio (paintings on wood), Mark Mueller (drawings) and Vera Kovarova (serigraphs).

The 70 - year - old Chicago - based artist has been quietly crafting Minimalist - influenced paintings since the early 1970s, with his signature variance of oil stick marks on wood or aluminum surfaces that share the spirit of other painters from that era such as Brice Marden and Robert Ryman.

This exhibition will include four works: a Giacometti painted bronze sculpture, Standing Woman, 1948; a large Mark di Suvero sculpture in metal and wood, entitled The A Train, 1966; a large - scale color photograph by Jeff Wall, A ventriloquist at a birthday party in October 1947, 1990; and a suite of seven carved wood sculptures by the American folk artist Edgar Tolson, entitled The Fall of Man.

Painted on a wood panel, this abstract piece has great movement marked by blue strokes in an arc.

When Jacobs began painting outdoors — first in the forests of Colorado, and later in the woods of Massachusetts — she decided to use tree bark as the surface on which to begin her lines and marks.

Mark Manders Room with Unfired Clay Figures 2011 - 2015 Painted bronze, iron, wood, offset print on paper 93 3/8 x 141 1/2 x 51 inches; 237.2 x 359.4 x 129.5 cm (large figure) 74 5/8 x 115 5/8 x 41 inches; 189.5 x 293.7 x 104.1 cm (small figure)

Mark Manders Dry Head on Wooden Floor (detail) 2015 Painted bronze, iron, wood, vitrine 55 3/8 x 76 x 51 1/8 inches; 140.7 x 193 x 129.9 cm (overall) 20 x 73 x 48 inches; 50.8 x 185.4 x 121.9 cm (sculpture) 33 3/8 x 76 x 51 1/8 inches; 84.8 x 193 x 129.9 cm (pedestal) 36 x 73 3/4 x 49 inches; 91.4 x 187.3 x 124.5 cm (vitrine)

Mark Manders Dry Figure on Chair (detail) 2011 - 2015 Figure: Painted bronze; Chair: wood and offset print and acrylic on paper 27 1/8 x 67 x 27 inches; 68.9 x 170.2 x 68.6 cm

Mark Manders Studio with Unfired Clay Animal 2014 Painted bronze, iron, plastic, wood Dimensions variable; 40 x 117 x 14 inches; 101.6 x 297.2 x 35.6 cm (sculpture only)

Mark DION Cabinet of Marine Debris 2014 cabinet; wood, glass, metal, paint assorted marine debris; plastic, rope 113 x 84 x 32 inches; 287 x 213.4 x 81.3 cm

The show includes a wood panel covered with black cedar shingles by Aaron Aujla (b. 1986); a vertical monochrome whose surface is marked by circular holes, which turn out to be the insides of plastic caps for cans of spray paint, by Dylan Bailey (1985); and a ghostly square monochrome whose surface is made from horizontal rows of strapping tape, translucent but reinforced with white string, by Chris Duncan (b. 1974).

Mark Dion Travels of William Bartram Reconsidered (alligator cabinet) 2008 found alligators in various media, painted wood and glass cabinet, framed William Bartram reproduction overall installed dimensions: 73 x 13 x 39 1/2 inches; 185.4 x 33 x 100.3 cm

Traditional shaker - style cupboard and drawer handles are robust and keeping them in a dark wood colour, rather than painting them in a matching pastel shade, means that grubby finger - marks won't show up.

We got to work, tearing out carpet, painting walls, putting in wood flooring, baseboard, etc... One of the items we came across was a super old, worn out, 18 × 24 ″ blackboard that was so worn out and used, I could hardly get the chalk to make a mark without going over and over it.

It makes the paint thin enough that it sort of seeps into the wood, almost like a stain, and you can still see the grain and saw marks just fine.

The ladder was originally in its original wood - toned state with splattered paint marks everywhere.

In this space, painted blue base units, white wall cabinets and stained wood worktops and standalone storage make their mark against limestone flooring and whitewashed walls.

For a professional finish on wood frames, use a hard - wearing eggshell paint and mark off the corners with masking tape to create sharp edges.

Mismatching furniture can bring a truly relaxed feel to a room with a dark wood chest of drawers, cream painted storage units and plush coffee - coloured sofa making their mark against the backdrop of neutral walls and curtains and black floor.