Sentences with phrase «social sculpture with»

Electronic Press Release: THE HOLDOUT — A Social Sculpture with Curated Radio Station Organized by Dexter Wimberly

One of the artist's last great works before his untimely death in 1986, Stag Monuments is emblematic of many of Beuys» fundamental concerns, uniting his belief in Social Sculpture with the powerful symbolism of animals and the reconciliation of opposing forces.

Not exact matches

As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.»

Blending the personal with the political, McMillian has worked in a range of mediums and materials, including sculpture, painting, video, performance, and immersive environments, to explore themes of class, gender, race, social history, and culture.

Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series — neither of which were actually named «Constellations» by the artists themselves.

Reinvigorating traditional images and forms with social justice themes, her critically acclaimed statue, Memorial To A Marriage, 2002, a three - ton Carrara marble mortuary sculpture of Cronin and her life partner was made before gay marriage was legal in the U.S., and has been exhibited widely across the country and abroad.

PEET's work — whether painting, sculpture, drawing, video, or performance — actively engages with the social and political realities of our time and fluctuates between documentary and subjective approaches.

Body Architecture — Collective Wear 4 Persons is simultaneously a sculpture with a pointed social statement, four individual wearable garments, and a movable home.

2009 The Embassy, Curated by Xerxes Cook and Alex Dellal, 33 Portland Place, London, UK Artists» Art / Artists» Books, Glenn Horowitz Bookseller, East Hampton, NY Elevator to the Gallows, Galerie im Regierungsviertel / Forgotten Bar Project, Berlin, Germany Story without a Name, Curated by Blair Taylor, Peres Projects, Berlin, GermanyPrivate, Con Der Hydt Museum, Wuppertal, Germany The Collectors, Curated by Elmgreen and Dragset, Danish and Nordic Pavillions, 53rd Venice Biennale, Venice, Italy Onedreamrush, Beijing Independent Film Forum, Beijing, China DLA Piper Series: This is Sculpture, Tate Liverpool, Liverpool, UK Mexico: Expected / Unexpected, Tenerife Espacio de Las Artes, Santa Cruz de Tenerif Imagine, There: Three Contemporary Mythologies, A Space Gallery, Toronto, Canada The Porn Identity, Kunsthalle Wien, Wien, Germany The Temptation to Exist: Douglas Gordon, Any Warhol, On Kawara, terence koh, Yvon Lambert Gallery, London, UK KKK: Featuring terence koh, Jeff koons, and Mike Kelley, Mary Boone Gallery, New York, NY A Tribute to Ron Warren, Mary Boone Gallery, New York, NY New York Minute, Macro Future Museum, Rome, Italy Objective Affection, Boffo, Brooklyn, NY Dancing with Rodin, The Brooklyn Museum, Brooklyn, NY Tompkins Square Park Procession, Tompkins Square Park, New York, NY Art History 1642 - 2009, National Arts Club, New York, NY Performa 09, Third Biennial of Visual Art Performace, New York, NY Degeneration / Regeneration, Marina Abramovic Institute, San Fransico, CA Compassion, Curated by AA Bronson, The Institute of Art, Religion and Social Justice, New York, NY Contemporary Artifices and Baroque Difformities, Arcos - Sannio Museum of Contemporary Art, Benevuto, Italy Marina Abramovic Presents..., The Whitworth Art Gallery at the Universtiy of Manchester, UK Get a Rope, Ctrl Gallery, Houston, TX

Working with artist Jenny Moore, participants used Pascale Marthine Tayou's sculptures as the starting point for a playful investigation of the social life of objects.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

From the play - ful to the political, these 23 works explore contemporary sculpture's material and technical dexterity, together with its social role and re ection on the human condition and our environment.

In this complex scenario, Teresa Margolles deals with material fragments of buildings, transporting them across borders and reassembling them remotely in large format sculptures, as a call to read these traces as part of larger processes, events and social relations, such as migration, international drug trade, or human trafficking.

Together with the works on paper is a hand - sewn soft sculpture of two intertwined snakes - a male and a female - decadently dressed, offering a wry statement on the privileged social systems media imagery exploits.

Presented in tandem with his monumental outdoor sculpture Playboy Marfa, which will be installed outside Dallas Contemporary, Phillips's first U.S. solo museum exhibition will feature both past and new works that emphasize his career - long exploration of political and social identity, consumerism, eroticized desire and social constructs.

New to the fair was a sector called Survey, bringing gravitas with a deliberately digital - free zone that called on 13 galleries to present tightly curated historical projects — the standout, New York artist Alison Knowles's The Boat Book, 2014, eight 8ft - high, wood - framed movable pages covered with images described by her dealer, James Fuentes, as «seminal social sculpture» that is «read» by crawling through it.

The New York — based artist Kevin Beasley imbues his sculptures with both personal associations and references to current events, social movements, and economic realities.

We'll look back into the past and contemplate the future of civil rights and social justice and explore the connections between history and contemporary art by examining the legacy of President Johnson and visiting The Contemporary Austin's rooftop sculpture With Liberty and Justice for All (A Work in Progress) by artist Jim Hodges.

Dan Tague, who has worked in photography, sculpture and installation with tart renderings of political themes, is currently developing a multi-media room - scaled environmental installation based on his memory of ninth grade social studies class.

A keen eye on concepts of high and low informs a body of work that, encompassing sculpture, installation, performance, photography, collage and textiles, is concerned with the construction and manifestation of social and intimate spaces.

Drawing from biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s and»70s, Neto incorporates organic shapes and materials that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer; the organic and the manmade; and the natural, spiritual, and social worlds.

While photography has been her primary medium, she has also incorporated drawing, text, sound, sculpture and video into work that evocatively engages with the intersection of photography, social history and personal memory.

In the past he has paired them with the better - known sculptures that resemble human forms, creating a visual dialog between the two, and suggestive of the lived relationship that occurs through social interaction.

The engagement with postmodern dance gave rise to a significant constant within his sculptural works: The investigation of an inclusion of the viewer which focuses on the temporal perception of sculpture by means of bodily movement through space, and which furthermore directs the view from the institutional space out onto social aspects in the real world.

Hart's work spans social and participatory sculpture, drawing, and printmaking, and deals with issues of perception, liminality, history, and spirituality.

Iván Argote's practice deals with social, political and art historical fields through mediums as varied as video, photography, sculpture and painting.

The bringing to light of a processual artistic activity, such as Morris called for in his theoretical texts Notes on Sculpture, Part 1 - 4 (1966 - 69) and Anti-Form (1968), likewise addresses the social context of production and labor, a perspective which is also to be seen against the background of the institutional criticism of Concept Art as well as the social expectations during the 1970s with regard to art production.

Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter «Dave Drake»; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation.

Adam Kleinman and Cally Spooner offer contemporary responses to themes including social sculpture, global politics and the production of reality, which resonate with Latham's understanding of time and history.

Stockholder has long broken down the boundaries between painting, sculpture, and architecture to explore the body in social and cultural space — using found objects intertwined with profusions of vivid colors.

Of note are works like Monument for Living in Defeat (2016), which plays with the staging of sculpture, painting, and pedestals, and Ornamental Composition for Social Spaces 1 (2016), which relates pre-modern architecture to Suprematist painting.

Composed of digital paintings, collages and sculptures, the four artists utilize varying kinds of mutable imagery — drawn from stock photography websites, social media and landscapes — as a representational vocabulary that intersects with physical presence.

These adorned bodily sculptures empower the performer to disengage from social constructions and engage with one another.

«The Act of Drinking Beer With Friends...» is an interactive, audience participation, site - specific tableau sculpture, a situation, and a social art work.

«Whiteread's sculpture deals obliquely with social issues, but it is not social history, and making it work in sculptural terms is the principal aim.

Sharing an affinity with other conceptual minimalist installations of the 1960s, Edwards» choice of barbed wire as material imbues this sculpture with social and political meaning.

From the perspective of the so - called post-internet generation, his sculptures, films and online projects — often arranged as installations — are concerned with the relationship between real and virtual everyday worlds, that is, with life and experience in the internet age and the effects this has on social reality.

Group exhibitions include; «Soft Power, Arte Brasil», Kunsthal KAdE, Amersfoort, The Netherlands (2016); «All Heritage is Poetry», Fundação Eugénio de Almeida, Evora, Portugal (2016); «What Separates Us», HS Projects, The Embassy of Brazil, London, England (2016); «Drawing Biennial», Drawing Room, London, England (2015), «Warp and woof», The Hole, New York, USA (2014), «A Sense of Things», Zabludowicz Collection, London, England (2014); «Threaded Stories», Stephen Friedman Gallery, London, England (2013); «3 am: Wonder, Paranoia and the «Restless Night», The Bluecoat, Liverpool, UK; travelling to Chapter, Cardiff, Wales, UK; The Exchange, Penzance, Cornwall, UK; Ferens Art Gallery, Hull, UK; «Site: Place of Memories, Spaces with Potential,» Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2013); «Labour and Wait,» Santa Barbara Museum of Art, California, USA (2013); «Além da Vanguarda,» Bienal Naifs do Brasil, SESC Piracicaba, São Paulo, Brazil (2012); «Mythologies, Cité Internationale des Arts,» Paris (2011); «Undone: Making and Unmaking in Contemporary Sculpture,» Henry Moore Institute, Leeds (2010); «Epílogo,» Museo de Arte Zapopan, Guadalajara, Mexico (2010; «Going International,» The Flag Art Foundation, New York, USA (2010); «Textiles Art and the Social Fabric», MUHKA, Museum of Contemporary Art, Antwerp, Belgium (2009); «Blooming: Brazil - Japan Where you are,» Toyota Municipal Art Museum, Japan (2008); «The British Art Show 06,» Hayward Gallery touring exhibition, UK (2006).

«Seismic Shifts» will showcase artists and architects whose work challenges disciplinary boundaries and raises critical social, environmental and political issues and will include painting, drawing, sculpture, photography, mixed media, video, and architectural models created between 2005 and 2012, with a number of new works featured.

As the survey «John Chamberlain: Choices,» curated by Susan Davidson and recently opened at the Solomon R. Guggenheim Museum in New York, demonstrates, Chamberlain deployed all of these materials with an exuberance, acuity, and openness to sculpture's social valences that was to influence generations of artists.

This 22 - year period spans his interactive sculptures, including his celebrated Nature Carpets, and his subsequent creative work with many radical social and political movements in Italy and around the world.

«Over the past thirty years, Shaw has become one of the United States» most influential and visionary artists, moving between painting, sculpture, and drawing, with works that build connections between his own psyche and America's larger political, social, and spiritual histories.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

In the late 1960s, artist Joseph Beuys came up with the concept of «social sculpture», which essentially gave art the power to change society.»

Oiticica's works form a bridge between painting and sculpture; furthermore, they connect the Modernist utopia of the 1950s with the more fractured period of social and political tensions of the 1960s and»70s.

Social practice, sometimes described as social sculpture or relational aesthetics, is much less concerned with art objects and much more with the space of human relationship, challenging conventional notions of artmaking and diSocial practice, sometimes described as social sculpture or relational aesthetics, is much less concerned with art objects and much more with the space of human relationship, challenging conventional notions of artmaking and disocial sculpture or relational aesthetics, is much less concerned with art objects and much more with the space of human relationship, challenging conventional notions of artmaking and display.

Exploring these themes, this year's Frieze Talks features Claudia Rankine — 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen: An American Lyric — discussing her writing and her newly - founded Racial Imaginary Institute; a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective (curators of the 11th Shanghai Biennial, «Why Not Ask Again») and featuring artists Tania Bruguera, Anri Sala and — ahead of her major project with Philadelphia Museum — Jeanne van Heeswijk; and a conversation on «complicating the Modern» with Ann Temkin, Marie - Jose ́e and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

With mediums ranging from painting and sculpture to video and performance, the exhibition will highlight the many ways Latin American and Latina women artists have continued to explore female sensibility with links to feminist activism in the face of harsh political and social conditiWith mediums ranging from painting and sculpture to video and performance, the exhibition will highlight the many ways Latin American and Latina women artists have continued to explore female sensibility with links to feminist activism in the face of harsh political and social conditiwith links to feminist activism in the face of harsh political and social conditions.

Beuys formulated the theory of Social Sculpture which empowered art with the ability to shape society, to which each individual could contribute, as expressed in his oft - quoted maxim, «Everyone is an artist».

This solo exhibition tries to build a relationship with the audience's physical presence, expanding Bul's ideas in a more architectural way as opposed to her previous sculpture series Cyborgs, which focused on the idea of individuality and identity locked within social phenomena.