Sentences with phrase «wood reliefs of»

Possible Abstraction Pair 1, 2007, presents two almost identical lacquer abstract compositions on wood panels, whose various elements and their voluptuous frames could humorously play on Francis Picabia's mechanomorphic works or the wood reliefs of Jean Arp.

Am I wrong to find some similarity to the wood reliefs of Jean (Hans) Arp?

Not exact matches

This building has sculptured reliefs in the top corners depicting naked Native Americans along with wood carvings of Native Americans inlaid throughout the interior, reminiscent of an age when appropriating this culture was seen as sentimental and artistic.

The same pale hide covers the lower part of the facia, while stark relief is provided in black: predominantly the leather that covers the upper part of the facia, the seat piping and the piano lacquer wood trim.

Mosaic - style tiling, carved wood reliefs, punched lattice partitions, and inlaid ceilings leave no doubt that the detail - oriented nuances of Indian design are at home in Dubai.

The Balinese theme with custom carved doors, stone reliefs and extensive wood details extend to the spacious deck coupled with sun loungers, a pagoda - style gazebo for alfresco dining and a smaller zen gazebo for your choice of meditation, massage or Yoga.

Brooke Davis Anderson, previously of the American Folk Art Museum and the Los Angeles County Museum of Art, has included self - taught artists like Holley and wood - relief carver Herbert Singleton in Prospect New Orleans, which she directs.

He has also been producing wood reliefs, works on paper, and constructions — all of which he hangs at eye level.

«It was such a relief not to have anything to do with modern art,» he said.3 One goes into the woods, as Henry David Thoreau wrote in Life in the Woods (Walden), to «live deep and suck out all the marrow of life».

They included David Butler (1898 - 1997), who fashioned animals, angels and people from cut and painted tin and other found items; the religious painter Sister Gertrude Morgan (1900 - 1980); Steve Ashby (1904 - 1980), who made raw figurative assemblages out of scavenged materials; and Elijah Pierce (1892 - 1984), whose carved and painted wood reliefs depict biblical scenes and national figures like the Rev. Martin Luther King Jr..

The series lasted until about 1974, and included shapes of wood and homosote, turning the collage into low - relief works.

When I saw his architectonic relief paintings of the early seventies with new materials like wood, felt, and different levels, slopes, and planes they struck me by their relationship to Picasso's Synthetic Cubism and Picasso's Cubist sculpture and Jackson Pollocks» cut out paintings like Out of the Web.

These pieces utilize Mangrum's signature technique of binding colored sand to canvas and carved - relief wood panels.

Schoonhoven's first wood and papier maché reliefs mimic the geometric hieroglyphs of his early drawings.

A founding artist of Viridian, Ms Bohman's painted aerodynamic reliefs of linen over wood armatures, seamlessly integrate the disciplines of painting and sculpture.

I am interested also by other works from the same era: as well as the wonderful 1977 Rational Concepts portfolio of prints (7 English artists: Norman Dilworth, Anthony Hill, Malcolm Hughes, Peter Lowe, Kenneth Martin, Jeffrey Steele, Gillian Wise) there's a delightful pastel colour study by Jean Spencer and two of Peter Lowe «s reliefs from 1968 in perspex mounted on wood, both 23 x 23 cm: Permutation of 4 Groups of 2 and Permutation of 4 Groups of 3, in which rational order and faktura combine to produce objects of staggering beauty.

The exhibition brings draws together approximately 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

Maine still pursues a kind of relief printmaking, with plates the size of canvas and with all sorts of materials in place of wood.

«Claire Falkenstein: Matter in Motion» explodes this narrow view with nearly 50 works, introducing a relentless exploration of abstraction in early paintings on canvas and also curved perforated aluminum; sculptures of wood and glazed ceramics; and one fantastic mixed - media relief.

This exhibition includes rare examples of ZERO period works including Licht - Relief [Light - Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief [Light - Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric black and white painting on panel.

The exhibition brings together 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

Leonardo Drew built an 8 - foot - tall abstract relief sculpture, «Number 52S,» with intricate layer upon layer of wood pieces.

Derrick Velasquez's wall sculptures from his Untitled Series, create a comforting rhythm in the form of patterned geometric reliefs made of colored strips of vinyl and wood.

SUYAMA SPACE: 2324 Second Ave. «Metamorphosis / Web,» an installation of two bodies of work (one a virtual ecosystem of flax, abaca and cotton pods, the other carved wood reliefs and flax - covered objects) by sculptor Yuriko Yamaguchi.

Heinz Mack, Licht - Glas, 1969 Plexiglas, glass, aluminum, and wood 22 x 27 x 4 inches January 7 — February 19, 2011 Sperone Westwater is pleased to announce the first survey of Heinz Mack's early metal reliefs (1957 — 1967).

The reliefs in his first show at Derek Eller, made of thin laser - cut pieces of wood laminate arranged on - edge in dense, wavelike formations, might make you think of topographical maps, classic Op Art, or very complicated data visualizations.

Camargo's painted wood reliefs draw a parallel with Espinosa's painting «Emina», where the repetition of a simple form creates hovering illusions of space and movement.

Along with the artist's large - format wood sculptures and reliefs, paintings from the later Remix series are also featured, as well as a new group of works, which is publicly displayed here for the first time.

This scaffolding inspired construction is the core architecture onto which the artist displays several bodies of works - steel, wood, and paper sculptures, fiber reliefs, and video projection.

The work was one of nine shallow relief paintings on wood that punctuated the walls of the sizable main gallery and a smaller annex space.

Finally, the exhibition features a small group of mirrored reliefs carved into scorched wood.

The exhibition brings together approximately 20 of Nevelson's iconic black and white painted wood sculptures, wall reliefs, and installations from the late 1950s through the late 1980s.

Stella has several other works in the auction including Lot 201, «Playskool Bobbin,» a 35 3/4 - by -47-by-33 1/4 - inch wall relief of acrylic on cast bronze, wood, etched honeycomb aluminum, fiberglass, balsa wood laminate, plastic and masking tape.

This exhibition of selected American artists explores the diverse approaches to abstraction developed since 1950, from the forceful brushwork of Lee Krasner to the contemplative canvases and reliefs of Ellsworth Kelly and the enigmatic wood forms of Martin Puryear.

The exhibition pairs stand - alone sculptures and wall reliefs with installation elements, such as functional seating made out of hand - cut wood and black wooden wall sconces holding mint green candles.

She assembles individual pieces of wood into shallow reliefs on the wall and then refines them with select materials, such as vellum, pencil, gesso, and gouache.

Like its sister prints, this work is the product of an involved process whereby the artist combines wood veneer, digital and relief prints, collaging them onto a sheet of 4 - ply archival mat board.

With a self - imposed mandate to free painting from the confines of two dimensions and release it into a three - dimensional realm, Mr. Stella changed gears in the early 1970s to produce relief - like painted constructions made out of aluminum or wood.

This exhibition reveals the broad scale of Ross» work from the large, free - standing, colorful metal sculptures whose simple forms evoke the totemic monuments of an ancient world to the smaller lyrical wall reliefs composed of wood veneers that create a visual extravaganza when placed next to one another.»

Four of her iconic black painted wood sculptures will be shown along with a Plexiglas wall relief and a black, welded aluminum sculpture that illustrate her ability to articulate her vision in a range of materials.

After Industry will also feature work by Verginer's son, Christian Verginer, including several wall reliefs, made of wood and depicting scenes of forests.

Jae Ko creates paper - relief sculptures by soaking rolls of adding - machine paper in water infused with Japanese inks made from wood ash.

Kinetik movement (Lammellen - Relief)(1967) develops these effects further through the literal application of neat aluminum strips to a wood surface.

This exhibition brings together an array of African hair ornaments made with wood, beads, copper wire and ivory — some of them embellished with delicate bas relief carvings.

The New Jeff Koons 1980 duratran, fluorescent lightbox 42 x 32 x 8 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT New Hoover Celebrity IV, New Hoover Convertible, New Shelton Wet / Dry 5 - Gallon, New Shelton Wet / Dry 10 - Gallon Doubledecker Four vacuum cleaners, 1985 plexiglas, fluorescent lights 99 x 53 1⁄2 x 28 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Aqualung 1985 bronze Edition 1 of 3 27 x 17 1⁄2 x 17 1⁄2 inches Private collection One Ball Total Equilibrium Tank (Spalding Dr. J Silver Series) 1985 glass, steel, sodium chloride reagent, distilled water, basketball Edition 1 of 2 64 3⁄4 x 30 3⁄4 x 13 1⁄4 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Three Balls 50/50 Tank (Wilson Aggressor, Wilson Supershot, Dr. J Silver Series) 1985 glass, steel, distilled water, three basketballs Edition 2 of 2 60 1⁄2 x 48 3⁄4 x 13 1⁄4 inches Private collection Jim Beam - J.B. Turner Train 1986 stainless steel, bourbon Artist's Proof 11 x 114 x 6 1⁄2 inches Stefan T. Edlis collection I Assume You Drink Martell 1986 oil inks on canvas Edition 1 of 2 45 x 60 inches Private collection Italian Woman 1986 stainless steel Edition 1 of 3 30 x 18 x 11 inches Courtesy Leo Castelli Gallery Rabbit 1986 stainless steel Edition 3 of 3 41 x 19 x 12 inches Sonnabend collection Buster Keaton 1988 polychromed wood Edition 2 of 3 65 3⁄4 x 50 x 26 1⁄2 inches C&M Arts Michael Jackson and Bubbles 1988 porcelain / ceramic blend Edition 2 of 3 42 x 70 1⁄2 x 32 1⁄2 inches San Francisco Museum of Modern Art, purchased through the Marian and Bernard Messenger Fund and restricted funds Pink Panther 1988 porcelain Edition 3 of 3 41 x 20 1⁄2 x 19 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT St. John the Baptist 1988 porcelain Edition 3 of 3 56 1⁄2 x 30 x 24 1⁄2 inches Courtesy Sonnabend Gallery Ushering in Banality 1988 polychromed wood Edition 2 of 3 38 x 62 x 30 inches Private collection Vase of Flowers 1988 mirror 72 1⁄2 x 53 x 1 inches Collection of Michael Crichton, courtesy of Christie's Wild Boy and Puppy 1988 porcelain Edition 1 of 3 38 x 39 1⁄2 x 23 1⁄2 inches C&M Arts Winter Bears 1988 polychromed wood Edition 2 of 3 48 x 44 x 15 1⁄2 inches Anthony d'Offay, London Woman in Tub 1988 porcelain Edition 3 of 3 23 3⁄4 x 36 x 27 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bourgeois Bust - Jeff and Ilona 1991 marble Artist's Proof 44 1⁄2 x 28 x 21 inches Anthony d'Offay, London Dirty - Jeff on Top 1991 oil inks silkscreened on canvas 60 x 90 inches Collection of Rachel and Jean - Pierre Lehmann Wall Relief with Bird 1991 polychromed wood Edition 2 of 3 72 x 50 x 27 inches C&M Arts Balloon Dog (Orange) 1994 - 2000 high chromium stainless steel, mirror - polished finish with transparent color coating 120 x 144 x 45 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bread with Egg 1995 - 1997 oil on canvas 128 x 108 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Play - Doh 1995 - 2004 oil on canvas 131 5⁄16 x 111 1⁄16 inches Private collection Auto 2001 oil on canvas 102 x 138 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Lobster 2003 polychromed aluminum, steel, vinyl Edition 1 of 3 57 7⁄8 x 17 1⁄8 x 37 inches (plus variable length chain) Private collection, courtesy Thea Westreich Art Advisory Services Elvis 2003 oil on canvas 108 x 93 inches Stefan T. Edlis collection

You can create your own relief print substituting wood for lino or polystyrene remembering to remove the areas you want to appear white, inking and then pressing the surface with a sheet of paper.

Victor Vasarely Dyok Positif, 1967 Acrylic on wood, relief multiple 14.25 x 14.25 inches Edition of 50 For sale at VFA

BH 118 and 119 [the present work] are thus companion pieces in that both are the culmination of a sequence of plasters (akin to Ben Nicholson's practice of multiple variants of a painting or a relief), both are carvings in coloured wood and both date from 1943, the year Hepworth was able to return to carving.

All of the artworks that populate The Conjured Life bear close scrutiny, both in observing and exploring the subject matter and noting the various visual strategies and formal means, from the straightforward representation of Magritte to the low - relief plaster technique of Max Ernst; from the shamanistic deer skin, wood, and felt used by Jimmie Durham to the full - size rubber life raft cast in bronze by Jeff Koons.

The labor - intensive process of hand sewing and hand - dyeing hundreds of visually dense canvas objects that weigh upon or support fragile wood structures that remind us of relief carvings, elaborately designed doors, buttresses, architectural joints and bridges.