a white painting with a white frame

Result #1

a white painting with a white frame <|startoftext|>Although Sam Francis works in a wide range of media, he is most well known for his paintings of abstracted human figures. The vast majority of the works in this show were large, but two were smaller, and one was framed. The paintings were hung on the wall and the frames were arranged in a grid. The paintings were hung on a single, small plywood support. The frames were painted a light green, a highly reflective blue, or a dark, grayish brown. The colors were applied in a subtle, almost imperceptible manner, almost as if the artist were painting the surface of the canvas. The colors were applied in a way that made it hard to distinguish the colors. The color is not flat, but it is often difficult to distinguish the color of the paint. Francis seems to be attempting to capture the essence of a paintbrush in his work, but he doesnt succeed in capturing the essence of the paint, or at least not well enough to make the paint look like a paintbrush. Francis has a tendency to make his paint look as if it were a paintbrush, and his colors seem to have the effect of creating a false sense of depth. He uses a variety of colors, and his colors are often used in combination with a white or blue ground. Francis paints with a brush, a large, unwieldy one, and he paints on a large, unwieldy support. The colors are used in an abstract way, as if they were paintbrushes. The colors are applied in a way that makes it difficult to distinguish the colors. The colors are applied in a way that makes it difficult to distinguish the colors. The colors are applied in a way that makes it difficult to distinguish the colors. The colors are applied in a way that makes it difficult to distinguish the colors. The colors are applied in a way that makes it difficult to distinguish the colors.

Result #2

a white painting with a white frame <|startoftext|>The exhibition of the work of such artists as David Hammons, Charles Ray, and Ed Paschke will be the first of its kind in the United States. It will also be the first in the history of the Whitney Biennial to include works by two artists whose works have been seen in the United States since 1965. The Whitney Biennial is an annual event, in which artists, writers, curators, and historians gather to discuss contemporary art and present a show of works by artists who have not been seen in the United States in at least two decades. The Whitney is a biennial with a very different mission than its predecessors, and it will not be the first biennial to include works by artists who have not been seen in the United States since 1965. The idea is to present works by artists who are not seen in the United States, and to present works by artists who are not seen in the United States.The show will be titled Art in America, and it will include more than one hundred works by more than one hundred artists. Some artists, such as A.C. Pencakas, Will Youngman, and Jim Nutt, will be represented in the show. The Whitney has a history of presenting works by artists who are not seen in the United States, including Morris Louis, Carolee Schneemann, and James Brown. Other works, such as Donald Judds, George Condo, and Peter Voulkos, will be shown in the show.The exhibition will be the first in a series of shows that the Whitney has organized in the past three years. The Whitney Biennial will be an annual event, and the show will be titled Art in America. The Whitney is an annual event, in which artists, writers, curators, and historians gather to discuss contemporary art and present a show of works by artists who have not been seen in the United States since 1965.

Result #3

a white painting with a white frame The artist is a young man, maybe in his thirties, who has moved to the small town of Stuttgart, Germany, from his native Berlin. The painting, entitled The Black, 2003, shows a man in a suit and tie standing in a darkened room, his hands behind his back. His back is turned to us, and his face is turned away. The paint has been applied in an irregular pattern across the white surface. The man sits on a bed, his legs spread out in front of him. The image is a composite of a photograph and a drawing, with the image of a single figure; the drawing shows a hand holding a hammer. The picture in the painting is a photograph of the same man in the same pose, but in a different color. The black-and-white painting, with its white frame, evokes the impression of a close-up, an intimate, and yet not so intimate, moment of time.The painting is titled The Black, 2004, in the same way. The picture is a composite of a photograph and a drawing, but it is not a photograph of the same man in the same pose, but in a different color. The black frame, with its black outline, is a representation of the wall of a room, but it is not a wall. The black-and-white painting, with its white frame, evokes the wall of a room, but it is not a wall. The black frame, with its black outline, is a representation of the wall of a room, but it is not a wall. The black frame, with its black outline, is a representation of the wall of a room, but it is not a wall. The black frame, with its black outline, is a representation of the wall of a room, but it is not a wall. The black frame, with its black outline, is a representation of the wall of a room, but it is not a wall.

Result #4

a white painting with a white frame <|startoftext|>The forty-seven paintings in this show are made of three basic types of paint: oil paint, acrylic paint, and enamels. The paint is applied on a panel that is either flat or has been rolled on. The paint is applied in a variety of shades, from a neutral yellow to a deep magenta or gray, from yellow to a deep red. In the vast majority of the works, the paint is applied in a single stroke.The paintings are displayed in a plain wooden frame that also serves as a pedestal for the paintings. The base of the pedestal is covered with the same type of paint as the base of the pedestal and the paint is applied in a single stroke. The paintings are hung on the wall in rows or diagonals, in groups or in pairs. Each painting is accompanied by a brief description of its color, its paint application, and its relationship to the rest of the paintings.The paintings are exhibited in a simple, basic format, in a single, large size, and in a single, white, enamel-based color. In addition to the paintings, the exhibition also includes two wall pieces and three colored wood sculptures. The wall pieces are arranged on a single sheet of plywood; they are painted white and have the same white paint application as the paintings. The wall sculptures are arranged on two sheets of plywood and are painted in the same manner as the paintings. The colors and paint applications are the same.The wall pieces are painted in the same way as the paintings and are hung in a row. The wall sculptures are painted in the same way as the paintings and are hung in a pair. The colors and paint applications are the same. The wall sculptures are painted in a similar manner as the paintings and are hung in a pair. The wall works are painted in the same manner as the paintings and are hung in a row.

Result #5

a white painting with a white frame <|startoftext|>Theres a delectable lightness about William M. H. Burroughss that stands in stark contrast to the darkly comic, often trite, inarticulate, and sometimes even abstract, atmosphere of the others in this show. In the sculptures and prints on display, Burroughs seems to be an artist who is not afraid to be cold, not afraid to be dead.The sculptures of the latter group, which include a pair of faceless, skeletal creatures, are strikingly different from the sculptures in the show. In the sculptures, Burroughs has used the simplest and most basic materials—wood, canvas, and graphite—to make his figure-ground relationships. He has created a series of three-dimensional constructions. The most obvious of these is the crumbly, perfectly smooth, white figure-ground that he calls a crumb. A second is a series of perfectly flat, almost-over-filled-in crumb-like forms. These are painted in bright, lustrous colors. The third is a series of irregular, irregularly shaped forms. These are painted in a muted, semi-illuminated palette. The colors are applied with a high-key, slightly smeared-on-ground glaze that gives the forms a shimmering, dewlike quality. The result is a sort of gelatinous, almost translucent, ethereal quality. The sculptures are not exactly in the molding style of an Abstract Expressionist, but they do have a certain amiability.Burroughs also uses his crumb-like forms to create a kind of holographic effect. In some of the crumbs, for example, the crumblike shapes are repeated on a single surface. This creates a sense of confusion and a feeling of unreality, a sense of being trapped between two distinct worlds.