Wherein his previous works have concentrated on two -
dimensional drawings this show will see moving image and sculptural elements produced in collaboration with fellow minimalist artists.
Not exact matches
The Wyss Institute's suite of machining tools includes 3 - D printers (one of which is
shown at far right) that make three -
dimensional objects based on computer - generated
drawings.
Mattera notes that the
show features «16 artists for whom color and structure intertwine, either to create a suggestion of
dimensional space or to invigorate a planar surface with pattern, repetition, or optical effects... While all of the works are strong individually and offer a cogent visual narrative as installed, I found myself
drawn to the conversations between and among certain works.»
Spanning acrylic and oil paintings, gouache and paper collages, patchworks made from fabrics and paint, silkscreens, and colored pencil
drawings, this
show brings together an expansive group of two -
dimensional works to explore the relationship between painting and
drawing.
The exhibition featured approximately 70 prints,
drawings and related sculptures from throughout Puryear's nearly 40 - year career, including many works never
shown before outside the artist's studio.1 Together with its substantial catalogue, it illuminated the complex and intimate relationship between Puryear's two - and three -
dimensional thinking, and the persistence with which he continually revisits and reworks forms, in some cases, over the course of decades.2
When the CAMH survey
show came together, Jones was surprised to see how those early
drawings evolved over a decade into three -
dimensional pieces, such as the works of her «SHHH» series, which are made from noise - cancelling electric guitar cables that she «plugs» directly into walls.
Next time: Ted Larsen's small
dimensional geometries at OK Harris in SoHo, and Sol Lewitt's wall
drawing uptown at Vivian Horan Fine Art; then back to Chelsea for «Geometric Abstraction,» a group
show at McKenzie Fine Art.
A few two -
dimensional works are in the
show, more aligned with collages, weavings or
drawings, but even they
show the manipulation of paper in unusual ways.
In the Armory
Show he exhibited two paintings and five etchings and took away new influences, the colorful palette of the Fauves and the stylized
drawing of emerging abstract painters who were emphasizing form and line over objective three -
dimensional reality.
A further six shortlisted artists complete the group
show, spanning painting, installation, three
dimensional design,
drawing and film.
Sculptures are displayed in pairs to
show the objects in two separate states of being, while their
dimensional forms are abstracted, flattened, and reflected in accompanying
drawings.
Nearly 200 one - of - a-kind and limited edition artist books,
dimensional prints, collages and experimental works will be
shown in
Drawn, Cut & Layered: The Art of Werner Pfeiffer.
Co-curated by Fitzgerald and Emily Skillings, both poets, the
show presents paintings,
drawings, and collages hung in imitation of the environment at Ashbery's own home, complete with katchkes, coffee tables, lamps, velveteen chairs, wall decorations suggesting abstracted ledges, and fireplaces — even a two -
dimensional piano
drawn onto the wall, stacked with real sheet music.
The word paper signals that Catherine de Zegher, former director of New York's
Drawing Center, was thinking, indeed, about drawing in this show of largely three - dimensional art, and the linearity of the work she chose was unmist
Drawing Center, was thinking, indeed, about
drawing in this show of largely three - dimensional art, and the linearity of the work she chose was unmist
drawing in this
show of largely three -
dimensional art, and the linearity of the work she chose was unmistakable.
The
show includes video work,
drawings where the paper is destroyed during the
drawing process, and three -
dimensional cut paper
drawings, as well as more traditional forms of
drawing.
Beginning with Ryman's earliest works from the late - 50s and extending to the mid-80s, the
show draws attention to his radical innovations with material, process and scale, and includes some of his rarely seen three -
dimensional paintings.
The works in this
show range from meticulous, two - foot colored pencil and graphite
drawings to towering ten - foot works on paper; from tiny sculptural interventions to massive three
dimensional arrangements.
For her new
show at Paula Cooper, she's turning to the mystical American architect Claude Bragdon, whose 1915 treatise on
drawing four -
dimensional objects Projective Ornament inspired many of the twisting, helical works in the
show.
Drawings show complete
dimensional data for electrical and mechanical engineering for manufacturing