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This led me to the next problem: how to paint a painting that was not founded on its bounded oneness but contingent upon different structures, whether they be architectural, optical, historical, or biographical.

This led me to the next problem: how to paint a painting that was not founded on its bounded oneness but contingent upon different structures, whether they be architectural, optical, historical, or biographical.

Artist: R. H. Quaytman  Venue: The Central Pavilion at the Venice Biennale  Exhibition Title: ILLUMInations

Quaytman Venue: The Central Pavilion at the Venice Biennale Exhibition Title: ILLUMInations

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Quaytman, Distracting Distance, Chapter Screenprint and gesso on wood, 24 × 40 in. Whitney Museum of American Art, New York; purchase with funds from the Painting and Sculpture Committee.

R.H.Quaytman, Distracting Distance, Chapter 16, 2010

Quaytman, Distracting Distance, Chapter silkscreen and oil on gessoed wood. Courtesy of the artist and Miguel Abreu Gallery, NY.

R H Quaytman

Quaytman I Love – The Eyelid Clicks I See Cold Poetry, Chapter 2010 silkscreen inks on gessoed panel;

R. H. Quaytman

from Beard, Chapter 2010 . from Beard, Chapter 2010 . from Silberkuppe, Chapter

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