Paris - based artist Léo Caillard, known for dressing
classical statues in contemporary attire, has been commissioned to produce a new site - specific installation for the exhibition.
Not exact matches
By last week the toll included the
statues in the Mosul Museum, the
classical site of Hatra, and the ancient Assyrian capitals of Nineveh, Nimrud, and Khorsabad, famed for their massive protective deities
in the form of human - headed winged bulls.
Across northern Iraq and Syria, the Islamic State (IS) group devastated antiquities during its reign of terror starting
in 2014, pulverizing
classical statues such as those of Palmyra
in Syria and bulldozing a 3000 - year - old ziggurat at Iraq's Nimrud.
Each of the four Grand View Suites has a large
classical statue from ceramicist, Ceccarelli — one for each of the four seasons, reflected
in the Pitti sculptures downstairs.
The Hall of Sculpture Balcony bears a hefty selection of Nicole Eisenman's paintings and plaster sculptures amongst the museum's figurative marble
statues, though the artist's brand of
classical and art historical absurdities seem tame
in comparison to the strangeness of satirical and metaphorical works by Iranian artist Rokni Haerizadeh installed
in an adjacent space.
st Léo Caillard dresses
classical statues as hipsters above the Aldwych entrance to Bush House
in London.
French artist Léo Caillard has dressed
classical statues as hipsters above the Aldwych entrance to Bush House
in London.
In his piece Love, Loss, and the Milky Way, he placed milk glasses next to
classical - style
statues and a cookie jar which depicted a racial caricature.
But she often coupled her criticality with a sly humor and an exacting, alluring beauty, as
in the 1983 — 88 series «Objects of Desire,» for which she cut out items from magazines, ranging from dresses and bowls to bondage gear and
classical statues, which she then rephotographed and printed on solid fields of color that matched their frames.
Featuring varied sculptures, photographs and drawings, our booth examines the legacy of
classical sculpture
in Marie and Orensanz» work, and looks at how both artists draw on a tradition of fragmentation that comes from the display of broken
statues from antiquity.
You start
in the relative sanity of the mirrored dining room and then squeeze through a series of chambers stuffed with prints and relics, before emerging into the domed, top - lit atrium with its gallery studded with
classical statues looking down into the stone coffin of the pharaoh Seti I. Below are the monk's parlour and the crypt.
Koons seems to have taken a palmful of blue gazing balls and blown them out into the gallery, landing on
classical statues and Midwestern lawn ornaments, which have coalesced
in pure white plaster.