Sentences with phrase «black glass sculptures»

For the 2003 Venice Biennale, Wilson created a mixed - media installation of many parts — focusing on Africans in Venice and issues and representations of blacks and whites — which included a suite of black glass sculptures; a black - and - white tiled room, with wall graffiti culled from texts of African - American slave narratives; and a video installation of «Othello,» screened backwards.

Lot 242, «Modern Sculpture with Black Shaft,» an aluminum and black glass sculpture, 81 by 52 1/2 by 16 inches, was created in 1967 in an edition of three.

Not exact matches

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Globus writes, «the black glass has the added dimension of being reflective, allowing the viewer to see themselves within the sculptures and have their own readings of the work.»

The sculpture consists of two identical black lacquered solid steel «J' forms perforated with holes originally positioned right up close on either side of one of the imposing glass panes constituting the façade of Mies van der Rohe's iconic building.

For Pace, Wilson will reconfigure Afro Kismet which includes two chandeliers, two monumental Iznik tile walls, four black glass drip works, and a globe sculpture, as well as installations and vitrine pieces that gather cowrie shells, engravings, photographs, a Yoruba mask, and furniture, among other objects that the artist discovered in his frequent trips to Istanbul throughout 2016 and 2017.

«It's a window sculpture in the Museum of Modern Art where the glass is backed with black leather,» Croak said, describing Duchamp's piece.

The exhibition will include the recognizable — one of Mr. Hammons's basketball hoop chandeliers and his tarp paintings — and the more recent, like a 2014 tangerine - tinted sculpture made of glass, wood, nails and acrylic, titled «Orange Is the New Black.»

At Pace, Fred Wilson went whole - hog with superimposed, black - and - white «flag» paintings, and both glass chandelier and bronze Egyptian - god sculptures.

This exhibition marks Wynne's most ambitious gallery show featuring his now iconic glass wall sculptures in the shape of waves, vortexes, and underwater exhale bubbles and text works including a new series using black glass.

Smith particularly objects to Levine's sculptures, after Brancusi, named «Newborn,» which are cast glass — crystal or black — and which indeed have in common with the seminal sculpture by Constantin Brancusi that in a bronze object managed to assimilate, like Bird in Space, everything that was new, shiny, aspiring yet unattainable about the 20th - century (perfection?).

The original show featured seven tabletop sculptures, one for each day of the week — bizarre, hovering tableaus in which green glass mammoths march over barren obsidian - black plateaus.

In the gallery's rear room, a smaller and earlier jet - black glass chandelier, «Othello's Light» (2005), caps the exhibition's suite of ominously beautiful glowing glass sculptures.

In January 2015, the renowned American artist Ellsworth Kelly gifted to the Blanton Museum of Art the design concept for his most monumental work, a 2,715 - square - foot stone building with luminous colored glass windows, a totemic wood sculpture, and fourteen black and white marble panels.

Pictured here: Echo by studiopluz, «an illuminated sculpture reminiscent of an ancestral melody comprised of a series of glass disks fusing glass with senses to produce a stimulating sound scape, evocative of the gravitational waves coming from black holes».

Published for a show at Galerie Max Hetzler, Shift concentrates on recent politically charged work by Palestinian artist Mona Hatoum (born 1952), sculptures of black steel cages holding biomorphic glass forms, iron barricades riddled with bullet holes and a curtain made from barbed wire.

Japanese bound and beautifully printed in deep, dark, black ink on several kinds of paper, this volume documents New York artist Banks Violette's recent solo exhibition at Galerie Thaddaeus Ropac in Salzburg, where he showed recent sculptures and site - specific installations made of metal, neon, varnish and glass.

In the hall on the first floor of the villa, White Newborn (1993 - 1994) was presented on a Steinway grand piano; four walls of the building were sparsely and elegantly furnished with several postcard collages; and in the smaller rooms of the house, wooden showcases contained reflective bronze and occasionally black or white glass sculptures.

Recycled plastic iceberg sculptures cover the floor and glow eerily under black light while scents waft through the air and videos documenting collisions between the natural and manmade world stream continuously on two glass screens that reflect images onto the walls.

Her sculptures are either cast in polished bronze or in black or white frosted glass.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

An overview of Wiley's prolific career from 2001 to the present, A New Republic features spectacular portraits of black men - the artist's signature works - along with exciting new developments: portraits of women, monumental sculpture, and «paintings» in stained glass.

With À la Lumière des Deux Mondes (At the Light of Both Worlds, 2005), a site - specific work created for the Louvre's glass pyramid — the first time a contemporary artist had exhibited in the institution — Tunga used one of the building's columns as a pivot on which various symbolically charged objects were balanced: gold and black skulls and a giant walking stick intertwined with braided hair on one side; a chain of skulls caught in a dark net falling towards a floor littered with golden and black reproductions of heads from the Louvre's classical sculptures on the other.

The booth features Wally Hedrick's black paintings, a series in which the artist painted over existing paintings in black paint every time the U.S. invaded another country, culminating in The War Room, an installation he made in the late 1960s; preliminary drawings from performance artist Simone Forti's «News Animations» series, her way of understanding and dealing with world news (one drawing reads «Reason, fear, hatred, compassion, survival» drawn on a figure); and Judith Bernstein's phallic sculptures and 2D works, including a modified American flag topped with phallic balloons contained in glass - covered frames.

The sculptures, one a table made out of a large piece of glass resting on top of two white sawhorses; the other a stand - alone, black - framed shelving unit, are overlaid with vinyl text in the font of American artist Barbara Kruger.

Best known for her carved wooden heads wrapped in black leather affixed with zippers, glass eyes, enamel noses, spikes and straps, Nancy Grossman (b. 1940) is accomplished in draftsmanship, assemblage, and relief sculpture as well as carvings.

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