Sentences with phrase «between design objects»

Her fresh understanding of the relationship between design objects and the development of our societies and histories is an exciting perspective on the world we live in today.

Not exact matches

Between that video, which showcases optical illusions created by real objects, and Google's award winning commercial Google Chrome Speed Test, that compares the browser to a potato gun, 1stAveMachine credits practical design — that is, building real projects instead of using digital trickery.

Kyle Nel, Executive Director of Lowe's Innovation Labs, explains that LoweBots have been designed to tell the difference between inanimate objects and people so that they can engage people and try to assist.

The clearest boundary between nondesigned and designed things is the presence of code — abstract symbols that represent real objects.

But if we are unwilling to be placed in this perilous situation; if we still will adhere to the design of a national government, or, which is the same thing, of a superintending power, under the direction of a common council, we must resolve to incorporate into our plan those ingredients which may be considered as forming the characteristic difference between a league and a government; we must extend the authority of the Union to the persons of the citizens, — the only proper objects of government.

His design shows it is possible to cloak all the colors of an object at once, from red to blue and everything in between.

It is generally designed to be brought into the «field» or local area where such objects exist to help distinguish between similar objects.

Key distinctions between the 2017 Armada and the previous generation include a fresh exterior design, enhanced performance from a new 390 - horsepower 5.6 - liter Endurance ® V8 and new 7 - speed automatic transmission, a comfortable full - feature cabin and class - exclusive ** available safety and security features — including Predictive Forward Collision Warning (PFCW), Blind Spot Intervention (BSI), Backup Collision Intervention (BCI) and Around View ® Monitor (AVM) with Moving Object Detection (MOD).

Publishing Trinie Dalton writes an appreciation of Dan Nadel's recently shuttered PictureBox: «It elevated comics and D.I.Y. projects into objects of high - design beauty, often through collaborations between zinesters, cartoonists, musicians, animators, and graphic designers eager for revolutionary assignments; or through showcasing artists who prove those camps are not mutually exclusive, like Ben Jones of Paper Rad (Pig Tales, B.J. and da Dogs, Men's Group: The Video, New Painting and Drawing).

Character design is quite varied between the six characters available for selection as every character has unique traits within their personality such as Candyman who hits the ball with his cane, tap dances, dresses in a jazz fashion sense and has a special ability to change the molecular compound of particular objects to provide them with strangely altered properties.

Which is why I invented Cube Grenades: social objects in cartoon form, designed to star real conversations between people.

Brooklyn - based artist Wissemann mines utilitarian objects (like feather dusters, bristle brushes, and wheels from a filing cabinet) to develop playful sculptures that confound distinctions between art, design, and decor.

Focused on an interdisciplinary understanding of art, we endeavor to creatively address scientific issues as well as to blur the borders between art, design objects, and display formats.

Other artists have sought to renew the formalist mantra of painting as object, either by painting on three - dimensional household objects or by working with the similarities between painting and plain old fabric design, as in clothing or folk quilting.

Together, the film «Substance», the sculptural grid fragments, and the object at the Metropolitan Museum engage a multi-layered conversation between histories of exhibition sites; concepts of public space and private property; and the paradoxical legacies of historicism and modernism in architecture and design.

«Racconti Immaginari» is an anthology featuring over a hundred works — between photos, objects, set designs and installations — carefully selected by the eclectic photographer to represent his artistic evolution.

As with her early design work, her vividly - coloured paintings explore complex arrangements of forms, ideas of depiction versus reality, and the expressive relations between objects and colours.

Dissolving the barriers between the viewer and the art object, the imaginatively designed golf course is reliant on audience participation not only to keep the ball rolling, but also to provoke thought.

«Objects and Logotypes: Relationships Between Minimalist Art and Corporate Design,» Renaissance Society, The University of Chicago, Chicago, IL.

Claire Cadorette, a Rhode Island School of Design graduate with a BFA in glass, uses her work to bridge the relationship between the subjectivity of the object and the objectivity of the body.

Conversations between Darbyshire and the Shipley have highlighted his enthusiasm for engaging with both a public building and an established collection featuring design objects.

The multifarious artist's colorful geometry, rendered in a range of techniques, was applied to so many surfaces and objects that it irritated the distinction made between art and design in the 1920s and»30s — and continues to provoke thoughts about such distinctions here, featured in an art exhibition at an institution devoted to design.

He loves to work with materials such as salt, coffee, sand, glass or cement in order to create sculptural objects that cross the border between art and design.

All his works hint at a critical, analytical consideration of the concept of sculpture and its media: he straddles the boundaries between object and performance, architecture and design, sculpture and photography, artist and public, meaning that his work also provides a broad basis for reflection on social and cultural questions.

Explore the relationship between sculpture, architecture and design as objects from the Museum's collection are presented alongside artworks, furniture and every day items to create unexpected encounters

«By designing a world where humans inhabit the objects, Baldock raises questions of dependence and control, questioning the hierarchy between visitor and sculpture, maker and material.»

Pop Art Design, an exhibition organized by the Vitra Design Museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative wDesign, an exhibition organized by the Vitra Design Museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative wDesign Museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative wdesign museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative wdesign objects with artworks from this celebrated era to show the cross-pollination between these creative worlds.

The exhibition presents the charming disposition of ordinary objects, and examines the blurring relationship between art and design.

The actual study of functionality leads to the inner dialogue between art and design, which transcends into the outer object itself.

By this ethereal selection of works, the curator Eva Fabbris explores the space between public and private, design and art, and includes painting, sculpture and photography with prototypes for everyday objects, furnishings and wallpapers, confirming Marc Camille Chaimowicz's role as increasingly influential for younger generations of artists.

McMakin, who is also a furniture designer (again, the artist's bio requires a distinction between his trades), combines found objects of the minimalist and much celebrated Mid-Century Modern design traditions with his own sculpture work, essentially reassigning all components new roles, or stripping them entirely of their original intentions.

Armleder has long been interested in breaking through perceived divisions between art and architecture, art and design, and art and functional objects.

, 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

A collaboration between MCASD and successful design retailers Brooks Hudson Thomas and Blaire Dessent, Product Porch will offer accessories, functional objects, and furniture made by a new generation of creative talents from all over the world.

The route runs between contemporary objects, classic design, site - specific installations and photographs.

Working from a survey of some of the 1990s» central figures, its purpose is to collect objects and sources which survived and inspired the decade, and to create new, non-hierarchical arrangements between art, literature, film, music, architecture and design.

The Stedelijk Museum Bureau Amsterdam presents A Sign of Autumn — Vincent Vulsma a solo - exhibition on view 15 October — 27 November 2011, By employing strategies of spatio - temporal montage, Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object.

This exhibition of recent work by American artist Andrea Zittel continues her preoccupation with fusing art, architecture and design to create objects that straddle the boundary between form and function, artwork and tool.

The film's worried narrative shifts between the perspectives of three characters who interact with a series of objects set within carefully designed domestic interiors.

She employs ornate craftsmanship along with inventive materials to create objects and installations that transcend traditional boundaries between art and design.

These works, which range from smaller, diorama - like works to room - filling installations, incorporate photographs, kitschy souvenirs, pop culture cast - offs, cheap household products, and high - end design objects, obliterating any hierarchy of value between them as they are combined into powerfully evocative statements that are immediately recognizable as Genzken's.

It is the human touch within objects which fuels his thinking, allowing him to move freely between art and design, searching for the «inner soul,» character and honesty in unexpected and overlooked places.

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.

Urban investigates the space between art and design by creating objects and installations that directly engage the viewer and how they imbue products with meaning, both cultural and personal, concrete and abstract.

Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007, traveling); Second Lives: Remixing the Ordinary, Museum of Art and Design, New York (2008); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); 54th Carnegie International, Carnegie Museum of Art, Pittsburgh (2004); Out of Actions: Between Performance and the Object, 1949 - 1979, Museum of Contemporary Art, Los Angeles (1998); Afro - American Art in the Twentieth Century: Three Episodes, Bronx Museum of the Arts, Bronx, NY (1980); Afro - American Abstractions, P.S. 1 Contemporary Art Center, Long Island City, NY (1980); Freeway Fets, public art project, freeway underpass, Los Angeles (1979); The Concept as Art, Just Above Midtown Gallery, New York (1977); California Black Artists, The Studio Museum in Harlem, New York (1977); and Sapphire Show, Gallery 32, Los Angeles (1970).

This shift in Piacentino's work, away from pure minimalism while still maintaining a commitment to blemish-less surfaces, is in line with these words from Germano Celant: «It is in this historical climate of oscillation between art and design, handcrafts and industry, the useful and the useless, the one - off piece and the mass - produced object, and between the autonomy and heteronomy of pure creation, that we can place the contribution of Piacentino, whose otherness and uniqueness lie precisely in the dialectic between the two poles, Pop and Minimal.

About ROLU ROLU is an experimental design studio located in Minneapolis that is focused on exploring the relationship between life, our surroundings, and the objects and ideas that fill those spaces.

The main difference between YOMUTO and PICHIGLAS STUDIO is the origin of their materials, but in both cases the designers recycle everyday objects, decontextualizing them and giving them a second opportunity by converting them into unique pieces of design.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

Handwoven textiles, carpets, steel, and sculptural works point to the distinctions that we make between art (a conceptual object) and design (a functional object); painting (two - dimensional) and sculpture (three - dimensional); and representation (illusion) and reality (the actual object).