Sentences with phrase «black designs sculptures»

Interested in the architecture of forms, Black designs sculptures that often appear to be caught in a state of near collapse.

Not exact matches

«Each unique part of the country would spark an idea for a different art lesson — anything from Native American weaving and designs, to chalk drawings of bright colored lights on black paper (an idea from Carlsbad Caverns), to sculpture made completely out of corn,» reports Wallace.

Black is used as contrasting color, the nasal air intakes are bigger and more sculptured, and the wheel design and tailpipe arrangements are less subtle.

The dynamic side profile is emphasized by sculptured rocker panels, and the bold wheel lips that house a choice of multi-spoke 19 - inch RS alloy wheels — including a high - performance lightweight forged design finished in low - gloss black, which offers enhanced strength and impact resistance.

Design highlights include: New front - end styling with distinct differences between LS / LT, RS and SS, including the fascia, grille, LED dual - element headlamps and reshaped hood (ZL1 retains its airflow - optimized front - end styling) SS - specific front fascia with «flowtie» open bowtie grille emblem and aero - enhancing air curtains, specific headlamps with new LED signature and extractor - style hood RS Appearance Package available on LT adds unique polished black grille with Galvano Chrome lower inserts, new LED headlamps with LED signature light bar, specific rear fascia with rear diffuser and 20 - inch wheels New rear fascias for all models, with specific diffusers on RS and SS when equipped with Dual Mode Exhaust New LED taillamps with a more sculptured evolution of Chevrolet's signature dual - element design; red lenses are featured on LS and LT, with RS, SS and ZL1 featuring dark - tinted neutral - density lenses New 20 - inch wheel designs on RS and SS Turbo 1LE The new Camaro Turbo 1LE joins the V6 1LE, SS 1LE and ZL1 1LE to round out Camaro's lineup of 1LE track Design highlights include: New front - end styling with distinct differences between LS / LT, RS and SS, including the fascia, grille, LED dual - element headlamps and reshaped hood (ZL1 retains its airflow - optimized front - end styling) SS - specific front fascia with «flowtie» open bowtie grille emblem and aero - enhancing air curtains, specific headlamps with new LED signature and extractor - style hood RS Appearance Package available on LT adds unique polished black grille with Galvano Chrome lower inserts, new LED headlamps with LED signature light bar, specific rear fascia with rear diffuser and 20 - inch wheels New rear fascias for all models, with specific diffusers on RS and SS when equipped with Dual Mode Exhaust New LED taillamps with a more sculptured evolution of Chevrolet's signature dual - element design; red lenses are featured on LS and LT, with RS, SS and ZL1 featuring dark - tinted neutral - density lenses New 20 - inch wheel designs on RS and SS Turbo 1LE The new Camaro Turbo 1LE joins the V6 1LE, SS 1LE and ZL1 1LE to round out Camaro's lineup of 1LE track design; red lenses are featured on LS and LT, with RS, SS and ZL1 featuring dark - tinted neutral - density lenses New 20 - inch wheel designs on RS and SS Turbo 1LE The new Camaro Turbo 1LE joins the V6 1LE, SS 1LE and ZL1 1LE to round out Camaro's lineup of 1LE track stars.

Amistad Research Center, Tulane University, New Orleans, LA The Art Institute of Chicago, Chicago, IL Baltimore Museum of Art, Baltimore, MD Bennett College for Women Collection, Greensboro, NC Cleveland Museum of Art, Cleveland, OH Corcoran Gallery of Art, Washington, DC de Young Museum, San Francisco, CA Fisk University Gallery, Nashville, TN Hampton University Museum, Hampton, VA Howard University, Gallery of Art, Howard University, Washington, DC Milwaukee Art Museum, Milwaukee, WI LeMoyne - Owen College, Memphis, TN The Metropolitan Museum of Art, New York, NY Museum of Art, Rhode Island School of Design, Providence, RI Museum of Fine Arts, Boston, MA Museum of Modern Art, New York, NY Museum of Nebraska Art, Kearney, NE National Portrait Gallery, Smithsonian Institution, Washington, DC North Carolina Museum of Art, Raleigh, NC Philadelphia Museum of Art, Philadelphia, PA Savannah College of Art and Design, Lawrence, KS Schomburg Center for Research in Black Culture, New York, NY Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, NE Spencer Museum of Art, The University of Kansas, Savannah, GA The Yale Collection of American Literature, The Beinecke Rare Book and Manuscript Library, New Haven, CT

(Top) In the living room, dominated by a black steel sculpture by Brian Wall and Manuel Neri's marble 1989 Odalisque 1 on the floor, are a Louise Nevelson — esque bookshelf and steel pivot door to the kitchen that Francis Mill designed with Chris French.

• Obverse Reverse (Black, White, Red and Gold), a 40 - foot long sculpture commissioned by the Savannah College of Art and Design (SCAD), at the Mercedes - Benz Stadium, Atlanta, GA..

5 Two drawings, Vertical Chamber, 2016, and Black River, 2017, flank the sculptures, the former detailing a 1950s primate isolation chamber designed by Harlow while the latter depicts a bulbous and strange medical model for childbirth.

Ruth Asawa is best known for her ethereal wire sculptures and public fountains; however, her formal training at the famed Black Mountain College in North Carolina was in drawing and design.

The exhibition «consists of 50 works of mixed - media collage, assemblage on wood panels, and sculpture presented in an installation designed by the artist that reimagine safe destinations for the black American traveler during the mid-twentieth century.

The 63 large - format paintings, reliefs, sculptures, and models on view fully represent each phase of Stella's career, from his work prior to the Black Paintings, to the Irregular Polygons, to the first metal reliefs, to the architectonic designs.

MOT, London The Galleries Show, Extra City, Antwerp 59th Minute, (public video commission organized by Creative Time), Times Square, New York Metropolis Rise, CQL Design Centre, Shanghai (cat) Para todos los publicos, Sala Rekalde, Bilbao (cat) Black and White, Hellenic American Union, Athens Sculpture Grande 06, Prague

In January 2015, the renowned American artist Ellsworth Kelly gifted to the Blanton Museum of Art the design concept for his most monumental work, a 2,715 - square - foot stone building with luminous colored glass windows, a totemic wood sculpture, and fourteen black and white marble panels.

The image below shows the artist in a saffron orange and black polka dot dress sitting on the edge of a platform installation with walls and floors in the same color and polka dot design with a pumpkin sculpture behind her in the same colors and design.

The idea for the group exhibition came to Ligon as he gazed up at Ellsworth Kelly's monumental work «Blue Black» (2000), a 28 - foot - tall painted wall sculpture commissioned for the Tadao Ando designed main exhibition hall of Pulitzer Arts.

Think of the sculptures she has made since 1998, that take their form from full stops in a variety of different fonts and when rendered in black - painted bronze can punctuate a gallery like so many high - design stools.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Painting, sculpture, music, craft, dance, poetry and design were all developed at Black Mountain, and the exhibition seeks to recreate the mood of the sylvan campus, where music played all the time.

Fusing pop art's hard edges with the political ideals of social realism, and techniques of Tibetan painting with the graphic symbolism of West African sculpture and design, her practice occupies a unique space within the black arts movement of the 1960s and»70s.

An envelope of black and white installation shots of «Barry Flanagan - A Visual Invitation: sculpture 1967 - 1987» at the Museum of Modern Art, Belgrade, Serbia, black and white installation shots of «Art» 92» at the Business Design Centre, Islington, UK (1992), black and white photograph of Young Elephant, 1985 of the Pace Gallery, New York, USA, black and white installation shots of «The British Art Show: Old Allegiances and New Directions 1979 - 1984» at the Royal Scottish Academy, Edinburgh, UK (1985), black and white installation shots by Al Mozell of «Barry Flanagan.

KCET A4tbound, July 2, 2014; «Christopher Miles, «Hammer Projects and the Indwelling of the Project Spirit,» in Hammer Projects, 20 - 31; Connie Butler's and Michael Ned Holte's essays in the Made In L.A. 2014 reader; «Thing: New Sculpture from Los Angeles,» Hammer Museum, February 6 — June 5, 2005; OTIS L.A.: Nine Decades of Los Angeles Art (Los Angeles: Otis College of Art and Design, 2005); and Chris Kraus, Jan Tumlir, and Jane McFadden, LA Artland: Contemporary Art from Los Angeles (London: Black Dog Publishing, 2005).

In this medium, Nevelson was able to design numerous monumental outdoor works, including an exterior wall sculpture for Temple Israel, in Boston (1973); a black monumental work for the Embarcadero Center in San Francisco (1977); and perhaps her most successful steel sculpture, Atmosphere and Environment XIII: Windows to the West, for the city of Scottsdale, Arizona.

Vibrant paintings, powerful murals, collage, photography, revolutionary clothing designs and sculptures made with Black hair, melted records, and tights — the variety of artworks reflects the many viewpoints of artists and collectives at work during these explosive times.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

RUSTIC GARDEN TABLE Provenance Antiques ORGANIC STONEWARE SCULPTURE David Katz through Belvedere INK AND PENCIL STUDIES T. Botero Galleries RUG Tai Ping Carpets BLACK LACQUER CABINET WITH GOLD DETAIL Coup d'Etat through R Hughes GEODE SPECIMENS Harmonious Living by Tish Mills TESORO CORAL BOXES The Mercantile FLOOR LAMP Holly Hunt through Jerry Pair FRETWORK LOUNGE CHAIR McGuire through Baker ANTIQUE MIRROR Ainsworth - Noah DRAPERY FABRIC Arabel Fabrics DRAPERY HARDWARE Vesta BEDDING Restoration Hardware and West Elm BUDDHIST MONK STATUE August Avery ART Bill Lowe Gallery ALL OTHER RESOURCES Mark Williams Design Associates