In this body of work,
large plaster sculptures modeled after iconic works from the Greco - Roman era and quotidian objects such as garden ornaments are each anchored by a blue «gazing ball» of hand - blown glass.
Large plaster sculptures embedded within the gallery walls extend the scope of the exhibition to fill the entire space.
Not exact matches
The
sculptures had been created by Daniel Chester French and Edward Clark Potter as
plaster models for two even
larger bulls that ornamented the livestock exhibit at the 1893 World's Columbian Exposition.
It was during this period he began experimenting with
large constructed works using cardboard,
plaster, and plywood; by 1965,
sculpture became his principal medium.
The show, organized by the ICA's senior curator, Jenelle Porter, consists of installations of painted
plaster sculptures, as well as cast porcelain and cast paper vessels, an array of
large - scale works on paper, and some mouth - blown crystal vessels.
Crouching Woman (1906 - 1908), Meditation without arms (after 1900), Torso of a Young Woman with Arched Back (1909): these masterpieces demonstrate Rodin's experimental nature in
large - format
plaster sculptures and convey his sensual depiction of the female body through raw, fragmented forms.
There are two
large sculptures studios linked to two smaller project rooms, including a welding room, kiln and areas for
plaster, stone, and wood working.
Taken at the Rodin Museum in Paris, which was the home and studio of Auguste Rodin for the last nine years of his life, Wermer's photographs depict his marble
sculptures and
plaster models for several
larger bronze commissions, along with a selection of works by Camille Claudel.
After his first solo show in 1981, at the Galleria Spatia in Bolzano, in 1984 he exhibited
large size
sculptures in
plaster at the Galleria L'Attico in Rome, an important solo show presented by Giuliano Briganti.
Saint Phalle attempted her first
large - scale
sculpture, enlisting Tinguely to make an iron armature, which she covered with
plaster and paint.
These are situated atop
large, white -
plaster sculptures that have been alternately modeled after iconic works from the Greco - Roman era, including the Farnese Hercules and the Esquiline Venus, or after such quotidian objects from the contemporary residential landscape as a rustic mailbox, a birdbath, and an inflatable garden snowman.
Blackman's formal pairing of opposites — black and white, horizontal and vertical — are referencing the
sculptures too, nodding to the
larger process of mixing water and
plaster dust (at a 50/50 ratio) to make them.
Last summer, Rachofsky and Faulconer purchased the
largest sculpture from Koons's recent Gazing Ball series of white
plaster figures with blue glass globes that, following its loan to the Koons retrospective opening this month at the Whitney Museum of American Art in New York, will take up residence in the Warehouse.
Highlights from the show include Royal College of Art graduate Jodie Carey's eight foot chandeliers made out of fluff from a hoover, Tom Price's animated, small scale sculpted
plaster heads, Emma Puntis's mesmerizing miniature portraits, Tatsuya Kimata's ironic
sculptures of everyday objects sculpted using traditional marble and stone carving skills, Doug White's majestic palm trees crafted from thousands of abandoned car tyres retrieved from road sides in Belize, Michael Lisle - Taylor's army uniforms crossed with straight jackets, which play to his 19 years in the Navy, and Boo Ritson's
large - scale photographs of people she transforms into characters caked in thick paint, which have sold out in her second solo show only a year after graduating.
Sculpture with Colour (Oval Form) is a larger, wood version of Hepworth's first sculpture with strings, the coloured plaster maquette made just before the outbreak of the war, Sculpture with Colour, White, Blue with Red Strings (BH 113A), which was the only sculpture she took with her to St Ives on 25 Aug
Sculpture with Colour (Oval Form) is a
larger, wood version of Hepworth's first
sculpture with strings, the coloured plaster maquette made just before the outbreak of the war, Sculpture with Colour, White, Blue with Red Strings (BH 113A), which was the only sculpture she took with her to St Ives on 25 Aug
sculpture with strings, the coloured
plaster maquette made just before the outbreak of the war,
Sculpture with Colour, White, Blue with Red Strings (BH 113A), which was the only sculpture she took with her to St Ives on 25 Aug
Sculpture with Colour, White, Blue with Red Strings (BH 113A), which was the only
sculpture she took with her to St Ives on 25 Aug
sculpture she took with her to St Ives on 25 August 1939.
Two of the more obvious examples of resistance in Robson's exhibition are Virginia Maksymowicz's fulsome Panis Angelicus, a cast
plaster sculpture of what appears to be an upper section of a Corinthian column overflowing with cast -
plaster loaves of bread and broken
plaster ornamentation, and Leslie Friedman's Tasty, an installation of wall - mounted screen prints and a
large pile of shiny oversize soda cans.
Andy Holden's work incorporates a wide variety of media and forms of presentation, from
plaster, bronze and ceramic objects, to music, performance and
large outdoor
sculpture.
It would be
larger, and it would concentrate on
sculpture in which
plaster is the primary material.
Working in a stunning variety of materials — including wood, stone, metal,
plaster, resin, acacia thorns — the artist makes palpable and present the analogous processes of nature and art: carving
large trees along their growth patterns to reveal the sapling contained within; elaborating the interior space of his closed hand into a
large - scale
sculpture that both contains his hand and enlarges the space it contains; rendering the swirling mists of his breath in the cold in tactile clay forms that contain the impression of his body.
At its annual meeting in March, the Collectors Committee of the National Gallery of Art made possible the acquisition of Piano / Piano (1963 — 1965/2011) by Richard Artschwager, a major example of the wooden
sculptures that employ Formica as a laminate, for which he is known;
Plaster Surrogates (1982/1989) by Allan McCollum, the last
large grouping available of the artist's signature works in this series; and Condensation Wall (1963 — 1966/2013) by Hans Haacke, a breakthrough kinetic work from the artist's early career.
West continued to make
plaster and papier - mâché
sculpture, and in the mid-90s began making bulbous tubes and
large - scale wiry loops, often with seats; readers may remember seeing one such work, «The Ego and the Id,» in Central Park from 2009 - 10.
Many of us may be familiar with Moore's
large plasters from the 1950s and 60s on view in the Henry Moore
Sculpture Centre.
Brooklyn - based sculptor Diana Al - Hadid is best known for her
large - scale installations, hulking
sculptures comprised of haphazard stacks of intricate honeycombed walls, cast organ pipes, and striated avalanches of
plaster.
It also provides a vivid sense of how
sculptures were made, from small virtuosic clay studies to
larger finished works in bronze, marble and sometimes tinted
plaster, the medium used most often in the exhibition's many, astounding portrait busts.
Large - scale works to be exhibited include John Chamberlain's The Sylvester Barge, a «couch»
sculpture made in 1982 of urethane foam and nylon cord measuring 6 x 15 feet; a ceiling - mounted «Tarpaulin» painting by the young English artist, Gary Hume; and Katharina Fritsch's Knot, a new painted
plaster sculpture of rat - tails that relates to her 1993 Rat - King installation at the Dia Center for the Arts.
In this
large group of small
sculptures, Elisa Lendvay masterfully tinkers with
plaster, Sculpey, wire, bones, stones, markers, and a playing card found on the beach of Montauk.
Singing from a
large bed - like platform in the middle of the
large hall, the nieces will be surrounded by marble, columns, skylight, and the
plaster casts of classical
sculptures that look down from the balcony.
He works in a variety of media (steel,
plaster, wood, ceramic, plastic) creating abstract, often
large - scale
sculptures with a signature use of bright vibrant
This presentation includes
plaster and mirror reliefs,
large - scale mirror
sculptures the artist refers to as «geometric families,» and works on paper, revealing the central role drawing has played in Monir's practice and focusing on a sculptural and graphic oeuvre developed over more than 40 years.
She is known for her
large imposing
sculptures made from what she calls «crap» materials, such as; plywood,
plaster, cement, polystyrene, spray - paint, PVA, scrim, cardboard, felt and rubber.
She is known for her
large imposing
sculptures made from what she calls «crap» materials, such as; plywood,
plaster, cement, polystyrene, spray - paint, PVA, scrim, cardboard, felt and...
The ambiguous title of her
sculpture, There Can Be No Arguments, 2010 is a seemingly definitive statement that invites us to consider its relationship to the materials comprising the work — in this case baby pink
plaster powder clinging to the surface of a
large polythene sheet.
Usually made in response to the space where they will be shown, and often created with ephemeral materials, her works have ranged from delicate cellophane, paper and polythene hanging pieces suspended with ribbon or tape to
large - scale floor - based
sculptures made from
plaster, chalk powder and soil.