Sentences with phrase «often such installations»

Not exact matches

Baker utilizes found materials often culled from alternative raw spaces such as repurposed factories and homes and, recycled by - products of her studio practice, to construct site - responsive, materially - charged installations.

Apart from his video installations, Cafmeyer often uses raw, industrial material such as metal, untreated wood and concrete.

She often creates and facilitates structured programs for children, teens, seniors and adults to participate in, such as talk shows, talent shows, dating shows, dance classes, cooking classes, walking tours, video portraiture and documentary style interviews; resulting in online and public video screenings, installations and performances.

In his photography, sculpture, installations, and works on paper, Breuning merges humor, kitsch, and pop culture to investigate the relationship between high and low art, often calling into question our assumptions regarding historically designated «masterpieces» by artists such as Pablo Picasso and Jackson Pollock.

Tara Donovan often constructs her installations and sculptures by transforming large quantities of mass - produced items — such as drinking straws, straight pins, wooden toothpicks, and plastic buttons — into stunning works of phenomenal impact.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

We often take this approach at Turner Contemporary however, and it's been a fascinating process to work with colleagues to think about the installation of such a large number of works in order to tell the story we want to tell.

Her work includes installation, performance and field recording, often employing fragile materials such as glass resonators and lenses.

Mucha's meticulously constructed sculptures — he often works with industrial materials such as aluminum, float glass, felt, gloss paint, steel, or blockboard — look variously like showcases and display cabinets or like baroque theatrical installations.

His installations and sculptures mostly incorporate found materials, often from the neighbourhoods where he is engaged, and have historical and iconic significance, such as «In Event of a Race Riot» (2011 onward) in which lengths of decommissioned fire hoses are carefully folded, rolled or stacked and emphatically presented inside gilt box frames.

Cheng's sculptural practice demonstrates a preoccupation with objects people often create to meet basic needs such as: shelter, illumination, warmth, support, nutrition and occasionally diversion Cheng's solo exhibition, entitled Mixtures, involves a sprawling and scattered installation, a single work containing multitudes.

Often referencing domestic and everyday objects, Hatoum creates installations and sculptures that capitalize on unexpected combinations to evoke a range of conflicting emotions such as fear and fascination, or attraction and revulsion.

Lash said that though installations such as «Remember the Upstairs Lounge» are impressive when seen as whole, they can't be displayed often due to the space they require.

Often, the final compositions are exhibited as art objects — such as photographic prints and video installations — while others exist in a real - time software context, such as «Rainbow Aggregator» (2013) which will be featured at the fair.

An LA - born installation and performance artist working with the early web, Scher's practice often concerns themes of surveillance culture in online works such as Securityland and Wonderland.

Often focusing on key moments of conflict or war, this major exhibition includes installations with lengthy, parable - like titles such as The worst condition is to pass under a sword which is not one's own (2009) connecting costume designs from Star Wars to uniforms designed by Saddam Hussein's son Uday (an avid George Lucas fan) for Fedayeen Saddam, an elite militia whose members dressed eerily similar to Darth Vader.

Although Nam June Paik trained as a classical pianist, his radical aesthetic tendencies soon led him to start experimenting with performance and installation art, which often incorporated new technologies such as lasers, robots, and satellite transmissions.

Executed with a raw intensity on paper and in ephemeral installations, her work often draws its imagery and subject matter from current and historical events such as the torture of women in Nicaragua, the extermination of Jews in the Holocaust, and the atrocities of the Vietnam War.

Baker utilizes found materials often culled from alternative raw spaces such as repurposed factories and homes and recycled by - products from her studio practice, to construct site - responsive, materially - charged installations.

I liked the keyboard as an interface because it has become such an everyday tool that we often forget how complex and rich it can be for an artistic installation.

His installations and sculptures focus on the connection between humans, technology, and nature, often featuring hard - to - curate elements, such as bees, ice, and dogs.

And yet, the show is often flat - footed and traditional in the worst way — with overly literal duds, such as (in the Fridericianum) a giant camouflaged tank that Greek artist Andreas Angelidakis assembled from seat cushions, a marble refugee tent by the Anishinaabe - Canadian artist Rebecca Belmore sitting atop the Hill of Muses overlooking the Acropolis, a gobsmackingly trivial installation at the Stadtmuseum Kassel by the Guatemalan Regina José Galindo that lets viewers point an unloaded assault rifle at the artist and decide whether to pull the trigger (being aware of Brandon Lee's death while filming The Crow, I declined), and in Karlsraue Park, Mexican artist Antonio Vega Macotela's replica of a machine once used by slaves in Bolivia to print coins — viewers are invited to use it.

It's not often a Jim Lambie floor installation (which is usually visually dominant — wherever the environment — with its viscerally over-the-top patterns) is made to welcome equally compelling works such as Rona Pondick's Kafkaesque self - portrait in the tree, or Ugo Rondinone's enigmatic and massive head of an identifiable creature.

In his often fragile and seemingly haphazard installations, employing a wide variety of materials, the distinctions between «real» and «virtual» spaces collapse on the surface of such interfaces.

He often works in various craft traditions with simple materials when he makes pictures and installations in which colonialism and its consequences are explored, and topics such as South Africa and Zimbabwe's history and contemporary are dealt with alongside themes such as migration, national identity and borders.

Yinka Shonibare, British artist of Nigerian heritage, known for his examination of such ideas as authenticity, identity, colonialism, and power relations in often - ironic drawings, paintings, sculptures, photographs, films, and installations.

Hopf uses a wide variety of techniques such as sculpture, installation, film and performance, often engaging subjects and materials that can be found in the immediate environment.

Installations featuring these works are often titled with a double entendre related to musical notation, audio devices, and sound constructs, such as Higher Resonance, Tone, and Absorb / Diffuse.

Johnson himself is known for his photography, films, sculptures and installations that often draw on the identities of black figures from recent history such as Don King and Sun Ra, as well exploring his own upbringing.

Often, the final compositions are exhibited as art objects — such as photographic prints and video installations — while others exist in a real - time software context.

Recently his sculptural installations have made use of domestic materials and associations such as shea butter and black soap, with his work often referencing bodily experience, and the effect of space and atmosphere upon psychology and emotion.

Phyllida Barlow, whose distinctive work as a sculptor has often involved making large scale installations using cheap, everyday materials such as cardboard, fabric, timber and polystyrene, has been made a CBE for services to art.

She works in photography and video, often incorporating other techniques such as collage, sewing, painting, drawing and installation.

Laura Tanner Graham's drawings and installations are often discussed as part of the Southern Gothic literary tradition, sharing similar themes with authors such as Flannery O'Connor and Eudora Welty.

He digs deep, often collaborating with specialists in such fields as engineering, architecture, genomics and climatology to produce engaging art objects, videos and installations that take on subjects like identity, ethics, aesthetics, climate and other social and political systems.

Her sculptures and installations are most often made in traditional materials such as marble, plaster and bronze combined with materials, that you would normally find in other industries and environments.

Often working with readymade objects such as Barbie dolls, fishnet stockings, opera costumes, and wedding dresses, sculptor and installation artist E. V. Day delves into the cultural fetishism by manipulating women's fashion and undergarments.

Installation artists Christo and Jeanne - Claude, who in the 1970s, and later, in their preparatory drawings for projects often involving large architectural structures, such as Wrapped Reichstag, Berlin (1971 - 95), also sought the immediacy of incorporating collaged elements.

The show includes installation and performance by artists such as Brazilian Carla Zaccagnini, who is preoccupied with history; Stefan Benchoam and Jessica Kairé, who manage an egg - shaped mini-museum in Guatemala; and Colombian Angeleno artist Gala Porras - Kim, whose work often explores the ways in which culture is presented and interpreted.

The Kabakovs are amongst the most celebrated Russian artists of their generation, widely known for their large - scale installations which draw upon the visual culture of the former Soviet Union and narrative traditions of Russian literature, often addressing universal themes such as utopia, dreams, fears and the human condition.

Alvi's resourceful cultivation and reorganization of the information around him is often associated with beautifully meticulous scissor - and - glue work, and there is a considerable element of such scissor work in the exhibited installation Always There, Always Three, but the glue in that work is intentionally and noticeably absent.

There are, however, connections between the two artists» practices — their works posses a sense of fragility, often occupy the space between abstraction and figuration, and are made of natural materials such as clay — and Rojas» installation resonates well with Merz's multimedia works.

Utilizing an assortment of mediums such as sculpture and exhibition / performance, Ullman makes installations that often feature parts of his studio, such as torn drywall fragments.

Educated in painting, Smith found himself more interested in entertaining than in image - making or the avant - garde happenings surrounding him, and so began his extensive video, installation, and collaborative practice, often portrayed through his naïve characters, such as «Mike» and «Baby Ikki.»

In fact, Attia's work often has an immersive and interactive element to it, such as with his large - scale installation, Continuum of Repair: The Light of Jacob's Ladder at London's Whitechapel Gallery last year.

Working in a wide range of media, including painting, performance, film, photography, and installation, Antin often recreate scenes form historical eras, paying close attention to details such as costume.

Anya Gallaccio's sculptures and installations are made in response to specific spaces and are often made from mutable materials that have limited life spans such as cut flowers, ice, chocolate, grass, basalt, and fruit.

In performances, editions, videos, publications such as their seminal FILE Megazine, sculptures, paintings and installations, the group often occupied unconventional forms of presentation such as beauty pageants, picture magazines, television talk shows, pop - up shops, and various advertising formats.

Titled «Right Misplacement,» the artist admits to the awkwardness when her sculptural installations — often made of street junk such as cardboard, nylon net, and concrete blocks — intervene in the gallery's standard white cube, but goes on to affirm their insignificance through their production method and display.

Her art - whether video, performance, sculpture or installation - is concerned with confrontational themes including violence, oppression and voyeurism, often in reference to the human body; and with the juxtaposition of opposites such as beauty and horror, desire and revulsion.