Sentences with phrase «edge art objects»

Library Street Collective: Cutting Edge Art Objects by Genie Davis «PAINTING / OBJECT» now at the Los Angeles outpost of Library Street Collective is a group show curated by Jason REVOK, and featuring, along with REVOK himself, a total of eight artists whose vibrant, modern works hover between the abstract and the surreal, the refined and...

Not exact matches

The resulting nanoforms include symmetrical lattice arrays, quasicrystalline structures, curvilinear arrays, and a simple wire art sketch in the 100 - nm scale, as well as 3D objects including a snub cube with 60 edges and 24 vertices and a reconfigurable Archimedean solid that can be controlled to make the unfolding and refolding transitions between 3D and 2D.

He recalls Minimalism's talk of art as object, with a geometry determined by its edges, only here the hard edges fall within the painting rather than along the borders of stretched canvas.

The Aldrich Contemporary Art Museum, the only non-collecting museum in Connecticut dedicated solely to contemporary art, will present The Domestic Plane, encompassing five curatorial projects on view simultaneously: Objects Like Us, Jessi Reaves: Kitchen Arrangement, On Edge, ALMOST EVERYTHING ON THE TABLE: The Smallish Explanatory Sculptures of Tucker Nicholas, and HandheArt Museum, the only non-collecting museum in Connecticut dedicated solely to contemporary art, will present The Domestic Plane, encompassing five curatorial projects on view simultaneously: Objects Like Us, Jessi Reaves: Kitchen Arrangement, On Edge, ALMOST EVERYTHING ON THE TABLE: The Smallish Explanatory Sculptures of Tucker Nicholas, and Handheart, will present The Domestic Plane, encompassing five curatorial projects on view simultaneously: Objects Like Us, Jessi Reaves: Kitchen Arrangement, On Edge, ALMOST EVERYTHING ON THE TABLE: The Smallish Explanatory Sculptures of Tucker Nicholas, and Handheld.

Unmonumental: The Object In The 21st Century, New Museum, New York, NY USA Today, Royal Academy, London, UK Fractured Figures, Deste Foundation, Athens, Greece Effigies, Stuart Shave / Modern Art, London, UK An Archaeology, Projectspace 176 — Zabludowicz Collection, London, UK Hammer Contemporary Collection, Hammer Museum, Los Angeles, CA Eden's Edge: Fifteen LA Artists, Hammer Museum, LA Eight Sculptors from Los Angeles, Galerie Sabine Knust, Munich, Germany Uneasy Angel / Imagine Los Angeles, Monika Sprüth Philomene Magers, Munich, Germany From Close To Home — Recent Acquisitions Of Los Angeles Art, The Museum of Contemporary Art, Los Angeles, USA Red Eye: Los Angeles Artists from the Rubell Family Collection, Rubell Family Collection, Miami

The rectangular brush mark and the painting's edge recall formalism's insistence on art as object.

Michael Rudokas brings those memories even closer to the painterly ideal of art as object, while softening the edges of geometric abstraction.

Ephemeral Objects is a cutting edge exhibition of creativity at the intersection of art, technology and innovation.

On Edge (The Domestic Plane) is one chapter in a series of concurrent exhibitions at The Aldrich brought together under the title The Domestic Plane: New Perspectives on Tabletop Art Objects, all of which explore the nature of small objects and our relationship tObjects, all of which explore the nature of small objects and our relationship tobjects and our relationship to them.

Traditionally, the edge has been avoided as it both suggests jeopardy and violates the comfortable and familiar framing of the art object by its display surface; yet artists have been drawn to the precipice by its theatricality as well as by subjective and formal concerns.

1999 The Inquisitive Object: A Biennial Review of NW Art & Craft, Hoffman Gallery, Oregon College of Art and Craft, Portland, OR (Received Award of Merit) Mail Art Exhibit in conjunction with Ray Johnson: Correspondences, Whitney Museum of Art, New York, NY South Sound Annual, Commencement Art Gallery, Tacoma, WA Beyond the Fold: Artist's Books from Traditional to Cutting Edge, The Gallery of South Orange, South Orange, NJ

To round out the fair, the Design section is curated by industrial designer and curator Cecilia León de la Barra who will link the art and design worlds with limited editions of utilitarian objects by cutting edge designers.

March 19, 2013 to September 15, 2013 Featuring nearly 90 installations, sculptures, furniture, and objects, Against the Grain: Wood in Contemporary Art, Craft and Design explores some of the most cutting - edge conceptual and technical trends in woodworking today... Click here for link.

Others preferred the clean lines of hard - edge painting, of Pop art or Minimalist objects — anything that would eliminate the particularity of the artist's hand.

Selected group exhibitions and screenings include I like to fondle, Acme Fire Station, London UK (2017); Cruising Spaces, LUX, London UK (2017); Now We Are Six, Marian Cramer Projects, Amsterdam NL (2016); The Ultimate Vessel, Koppe Astner, Glasgow UK (2016); Discursive Objects, WAH Gallery, Eindhoven NL (2015); Blurred Edges: Non / Fiction, Seattle Art Museum, Seattle US, as part of the Black Box Festival, (2015); The Best Tailor in Town, Hunt Kastner, Prague CH (2015); On the Devolution of Culture, Rob Tufnell, London UK (2014); Last Seen Entering the Biltmore (curated by Anna Gritz), South London Gallery, London UK; I love you Me either, Project Native Informant London UK (both 2014); SECCESSONE (curated by Rhys Coren, Paul Flannery & Attilia Fattori Franchini), bubblebyte.org (2013); Blue Lagoon (curated by Candice Jacobs), One Thornesby Street, Nottingham UK (2013); One and One and One, CGP London UK (2012); Forth & Back, Limoncello, London UK; Florence Loewy, Paris FR; 10,000 Hours, Glasgow International, Glasgow UK; YBAII (curated by Ryan Gander and Christina von Rotenhan), Dienstgebaude, Zurich CH (all 2012).

, China Art Objects Galleries, Los Angeles, California, US Blickachsen 4 / Axes of View 4 (Sculpturen im Kurpark), Galerie Scheffel, Bad Homburg v.d. Höhe, DE Dia: Beacon, Dia, Beacon, New York, US Arttranspennine03, Arttranspenine, North of England, UK Corso Terracciano 56, Alfonso Artiaco, Naples, IT De Collectie, Luc Deleu, Museum of Contemporary Art Antwerp, BE The Snow Show: Venice, UNESCO Regional Bureau for Science in Europe (ROSTE), Venice, IT Utopia Station Lab / Museum in Progress, Venice Biennale, Venice, IT Sink or Swim, Premier La Ciudad Radiante (La Città Radiosa), Fundación Bancaja, Valencia, IT Dust Memories, Swiss Institute - Contemporary Art, IT Independence, South London Gallery, London, UK Look & Feel Art Landscape Nature, De Verbeelding, Zeevolde, NL Telling A Work Of Art, Andrew Jensen Gallery, Aukland; New Zealand: Dunnedin Public Art Gallery, Dunnedin, Otago Settlers Museum, Dunnedin, NZSAFN, SAFN, Reykjavík, IS Histoires Contemporaines, Institute d'Art Contemporain, Villeurbanne, FR Artists» Gifts, Museum of Contemporary Art, Los Angeles, California, US Definitely Provisional (a library), Whitechapel Project Space, London, UK Stop & Go, Frac Nord - Pas de Calais, Dunkerque, FR The Distance Between Me & You, Lisson Gallery, London, UK Nomades & Bibliophiles, Koldo Mixelena Kulturunea, San Sebastian, ES In Full View, Andrea Rosen Gallery, New York, US Image and Writing in Works of the Collection of the Serralves Foundation, Serralves Foundation, Porto, PT Definitely Provisional (a library), Whitechapel Project Space, London, UK Selections from the Lewitt Collection, New Britain Museum of American Art, Conneticut, US Pictures, Patents, Monkeys, and More... on Collecting, Institute of Contemporary Art, University of Pennsylvania, US SEETHE, Catriona Jeffries Gallery, Vancouver, CA Trickfilm, Buchmann Galerie Köln, Koln, DE Look & Feel Kunst Landschap Natuur, Dag van de Verbeelding, De Verbeelding, Zeewolde, NL Utopia Station Poster Project, Haus der Kunst, Munich, DE Surface Charge, Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia, US Temporal Surfaces, Vancouver Art Gallery, Vancouver, CA Artists» Books, Outside of a Dog, Baltic The Center for Contemporary Art, Gateshead, UK Incommunicado, Sainsbury Center for Visual Arts University of East Anglia, Norwich, UK Wittgenstein: Family Likenesses, Institute of Visual Culture with Wittgenstein Archive, Cambridge, UK The Snow Show / New York, Scandinavia House, New York, US Muhka - een keuze, Muhka, Antwerpen, BE Frieze Art Fair, Regent's Park, London, UK Zahlen - Zeit - Zeichen / Numbers - Time - Signs, Galerie Dorothea van der Koelen, Mainz, DE «Art Is Very...» Attributed To Lawrence..., Kent Institute of Art & Design, Zandra Rhodes Gallery, Rochester, UK Argosfestival 2003, A First Quarter screening, Brussels, DE Partners, Haus der Kunst, Munich, DE Ned Sublette / Songs I wrote with Lawrence Weiner, Bowery Poetry Club, New York, US Une Maison - Une Collection (Collection FRAC Bourgogne), Atelier Cantoisel, Joigny, FR Postcards From the Edge, Galerie Lelong, New York, US The RxArt Ball, Dolce & Gabanna Showroom, New York, US RCA Secret, Gulbenkian Galleries, Royal College of Art, London, UK La Nuit Americaine, Yvon Lambert, New York, US Elephant Juice (sexo entre amigos), Kurimanzutto, MX Ready to Shoot / Videogalerie Schum, Kunsthalle Düsseldorf, Dusseldorf, DE; travelled to Casino Luxembourg, LU, Museu Serralves, PT The Boat Show, Wynick / Tuck, Toronto, CA; travelled to Richard Salmon Gallery, London, UK; Hatton Gallery, Newcastle University, UK

PERCHED NEAR THE EDGE of the Museum of Modern Art's atrium throughout this past spring and summer, Sigmar Polke's Kartoffelhaus (Potato House), 1967, echoed not only the diminutive German garden sheds and rigidly formed Minimalist objects in whose shadow the work was clearly made, but also — and more oddly — the very interior in which the piece itself was installed.

Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the search for beauty in the creation of a simple object.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

New Jewish center's art venue opens with elegant, stylized ritual objects that venture of the edge of religious tradition

Traveling to the Museion, Bozen, Italy 6th Prague Biennale, Prague, Czech Republic Less Like an Object, More Like the Weather, Hessel Museum of Art, Bard Center for Curatorial Studies, Annandale - on - Hudson, New York, USA Edge, Order, Rupture, Galerie Lelong, New York, USA Pasión II, Centro de Arte Contemporáneo, Málaga, Spain NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York, USA Yale University Art Gallery, New Haven, Connecticut, USA The Bigger Picture, The Artist's Institute, New York, USA, curated by Haim Steinbach Abstraction Manifeste, Le Quartier, centre d'art contemporain de Quimper, France Geometric Abstraction, Pace Prints, New York, USA

Reinhardt describes these paintings as: «A square (neutral, shapeless) canvas, five feet wide, five feet high, as high as a man, as wide as a man's outstretched arms (not large, not small, sizeless), trisected (no composition), one horizontal form negating one vertical form (formless, no top, no bottom, directionless), three (more or less) dark (lightless) no - contrasting (colorless) colors, brushwork brushed out to remove brushwork, a matte, flat, free - hand, painted surface (glossless, textureless, non-linear, no hard - edge, no soft edge) which does not reflect its surroundings — a pure, abstract, non-objective, timeless, spaceless, changeless, relationless, disinterested painting — an object that is self - conscious (no unconsciousness) ideal, transcendent, aware of no thing but art (absolutely no anti-art).»

But not everyone who painted hard - edge chose this route, and not all painters were willing to relinquish their hold on painting and declare their practice in terms of «objecthood» — the notion Michael Fried critically applied to art - as - object in 1966, thereby redefining this approach to art as a type of theater.

The primary roles of a 3D artist include developing high quality and cutting - edge 3D arts and animating objects and characters for 3D arts.