Sentences with phrase «drawn thread work»

Not exact matches

Deon Meyer's engrossing South African thriller pits Detective Benny Griessel against a mystery that unravels like the threads of a complex tapestry... Because the novel is set in contemporary South Africa, race relations and the legacy of apartheid are an inevitable topic, and Meyer works his social commentary into the story while remaining true to his characters... Thirteen Hours draws to a satisfying conclusion, with answers that prove surprising.

I knew after concluding the story of «Z», and my participation in this discussion thread, that I would be drawn into F. Scott and Zelda's writings,... I didn't iron out a direct plan of what I would read next, and so, when I realised that the film would release in May, I decided to make that my next book to read, to bring me full circle: I started out with a superficial knowledge of both husband and wife, as anyone who reads literature knows of certain authors and their wives, but might not have a working knowledge of who they were when they lived.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Whatever the reason, the tension that arises from all of the works in the exhibition seems to be the thread that draws them together.

Rauschenberg and Morris's connection through Judson Dance Theater and Surplus Dance Theater reached back to 1962, and the years 1966 to 1968 were decisive in Morris's evolution as both a writer and artist as he moved from his minimalist work to his permutations, felt, and thread waste pieces.33 LeWitt's first wall drawings were executed at the Paula Cooper Gallery, New York, in October 1968.

Drawn to the aesthetics or the cultural and political connotations of textiles, their work looks to the tenets of painting, applying notions of space, form, and color to their manipulation of fabric and thread.

The common thread between the work on display is a particular focus on the publishing of image - based books, whether an industrially produced compendium of graphic art, a limited edition, hand - bound «zine of drawing or photography, or a one - of - a kind, paper - cut tomb so large that it can only be «read» at scheduled performances.

Drawing has been an extended practice for Moshekwa, integrating elements of graffitti, thread, yarn and other material into his work.

Work by Lecturer in Visual Arts Eve Aschheim and recent graduate Gerardo Veltri ’15 will be featured in Living Threads, a summer invitational exhibition at The New York Studio School of Drawing, Painting and Sculpture.

Having moved through vast series, working solely with graphite and then color mediums and then graphite, still and moving images — the common thread throughout O'Neil's career is her allegiance to drawing.

Whether drawing with thread or sculpting with fibre, American artist Sheila Hicks discusses her pioneering textile works.

Under the rubric of «spaces / places,» holdings range from the works of Gordon Matta - Clark, which intervene in existing architectural structures, through Fred Sandback's Minimalist drawings in thread, to the organically formed objects of Ernest Neto, and include Louise Lawler, Bernd and Hilla Becher, Jeff Wall, Teresa Hubbard and Alexander Birchler, Simon Starling, Janet Cardiff and George Bures Miller, Gabriel Orozco and Loan Nguyen.

Layered atop these squares are collaged pieces of heavy string that impart a literary sensation, as if the intertwined threads could be «read» as the viewer's eyes are drawn across the work.

AL: I see the pencil drawings and thread drawings as very related yet quite different, and are really two distinct bodies of work.

AH: You work in two dimensions with both your graphite and colored - pencil drawings, and your thread drawings, which can aesthetically look quite similar.

And the staples in the installations are quite visible as they mark the point of turnaround for the taut thread; they create another layer of drawing in the work and an honest acknowledgement of how the work is made.

This suite of new works provides an intimate counterpart to FAILE's recent large - scale explorations of religious motifs while drawing out less obvious threads in their practice, from subtle gradations of color and pattern to a conscious removal of clear identities in order to explore archetypical structures beneath.

Brent: Color scales, gray scales, drums, unwrapped columns, the feel of folds, all different measures of light that sometimes manifest as light «actually», though all together register as interest in how things unfold, expose, and fold back — that draw attention to form while somewhat masquerading with it — Linda, what is the common thread that runs through your work?

1994 Possible Things, Bardamu Gallery, New York, USA (Vik Muniz, Curator) Choice, Chance and Irony, Todd Gallery, London; John Hansard Gallery, University of Southampton, England Unbound: Possibilities in Painting, Hayward Gallery, London, England (Greg Hilty and Adrian Searle, Curators) Le Temps D'Un Dessin, Galerie De L'École Des Beaux - Arts, Lorient, France, (Phillippe Briet, Curator) Written / Spoken / Drawn in Lacanian Ink, Thread Waxing Space, New York, USA Bravin Post Lee, New York, USA Painting, Rhona Hoffman, Chicago, USA About Color, Charles Cowles, New York, USA 8 Rooms for Paiting, Galeri F15 Alby, Moss, Norway (Gertrud Sandquist, Curator) Summer Exhibition, Sperone Westwater, New York, USA The Assertive Image: Artists of the Eighties from the Eli Broad Family Foundation, U.C.L.A. at the Armand Hammer Museum of Art, Los Angeles, USA Abstract Works on Paper, Robert Miller, New York, USA On Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, Italy

«6B Desenho Contemporâneo Brasileiro» is a group show with participation of 47 Brazilian artists working with drawing in its broadest expressions: paper, wood, canvas and other media, with materials such as graphite, charcoal, airbrush, photography, several threads and digital techniques, and installations.

Drawn primarily from the Sheldon collection, Black Fire: A Constant State of Revolution presents a small group of large - scale works that evidence narrative threads of African American experience from passage of the Civil Rights Act of 1964 to the present.

Drawing on significant works from various phases of Roth's career, Dieter Roth: Balle Balle Knalle explores an essential connective thread in Roth's varied body of work, showing how text and image were intimately connected for the artist and how his literary and artistic endeavors cross-pollinated each other.

I see the pencil drawings and thread drawings as very related yet quite different, and are really two distinct bodies of work.

The small works with thread began as a way to connect the drawings with the larger work.

Your work in two - dimensions with both your graphite and colored pencil drawings and your thread drawings, which can aesthetically look quite similar.

Titled Narcissus Garden (1966) the piece drew together many threads of Kusama's work, most predominantly the mirror and the orb, and offered a beautiful composition that up close was a confrontation of the viewer with themselves in the reflecting surface.

He is the first artist to be invited more than once to this internationally renowned resource for artists working with print and paper, and a long - term collaboration with the workshop has been instrumental in the development of his groundbreaking, large - scale thread drawings.

Over the years, however, Suh's drawings — made from colored threads embedded in handmade paper and painstaking rubbings of architectural sites — have come into their own as distinctive works of art that add a new perspective to the age - old medium.

Fiber, as the ICA's website attests, may be «the first exhibition in 40 years to examine the development of abstraction and dimensionality in fiber art from the mid-twentieth century through to the present,» but it also speaks to a broader interest in this type of work evidenced by recent curatorial and scholarly projects, including Elissa Auther's String, Felt, Thread: The Hierarchy of Art and Craft in America (Minneapolis: University of Minnesota Press, 2009)(click here for review); Thread Lines, a group exhibition curated by Joanna Kleinberg Romanow at the Drawing Center in New York (2014); and Richard Tuttles's installation I Don't Know.

With sources as diverse as children's art, comic - book characters, and figures from antiquity, Koons continues to draw a common thread through cultural history, creating works that attempt to touch the core of the human psyche.

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).

Through works spanning video, collage, sculpture, installation, performance, and painting, Oursler tries to understand the myriad manners in which the mind is seduced by the image as projected by television, technology, violence, media, and mental illness and conceptually draws a thread between these seducers.

Passage spans the last 10 years of Suh's career and will bring together a number of his most iconic installations for the first time, from his signature fabric architectures, room - sized rubbings and appliance - sized lightboxes to thread drawings, works on paper, scale models, video installations and multimedia documents of his public works.

A series of drawings she made of the union weave a thread through the artist's first solo exhibition in China (in 2014, she showed a large neon work in Hong Kong's Peninsula hotel).

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