Sentences with phrase «earlier fabric works»

Suh's landlord, who was initially hesitant to rent to a young artist, became a close friend and supported him in making earlier fabric works about the apartment.

Although her tarpaulin paintings appear to be somewhat related to the early fabric works of Barry Flanagan, Robert Morris, Richard Tuttle, Sam Gilliam and Morris Louis.

Not exact matches

These improvements address issues I'd observed in the earlier models with fabric abrasion on the sides after a reasonably long period of use and the laces working their way loose.

A day dress with flats could fly for an early afternoon wedding, while darker colors, heavier fabrics and heels often work best for evening services.

A piece of fabric that works for late summer evenings as well as early fall mornings?

This winter white ruffle top works perfectly with the pants; and it is a cool fabric making it perfect for early fall's hot temperatures.

This outfit also comes in the fabrics mentioned earlier with resham, zari and gota work.

In the early 1970s Dugger began to work with cut - fabric appliqué banners, founding Banner Arts.

Born in the early - to mid-20th century with no formal training, their creative spirits compelled them to make eclectic and found - object works steeped in religious, historic and cultural meaning and quilts with family and regional heritage literally sewn through the fabric.

These works are a departure from her earlier compressed fabric sculptures, riotous subversions of minimalist forms.

On view will be signature pieces made in aluminum and copper, as well as early works, often gilded in gold leaf, that recall folded fabric and open fans, Benglis» original inspirations for the series.

Originally shown at Museum für Moderne Kunst Frankfurt am Main earlier this year, the SCAD Museum of Art's presentation will include several works not previously exhibited including neon work by Kendell Geers, a photo series by Youssef Nabil, large - scale works on paper by Christine Beatrice Dixie, a sound installation by Frances Goodman incorporating bridal fabrics cascading from the ceiling, a calligraphy garden by Moataz Nasr and a collage by Wangechi Mutu.

The catalog includes signature pieces made in aluminum and copper, as well as early works, often gilded in gold leaf, that recall folded fabric and open fans, Benglis» original inspirations for the series.

In the 1930s and early forties, while working in advertising and the fabric industry, Kootz had found time to write about modern art.

Some of the earliest works by Christo and Jeanne - Claude were «wrappings» in which the artists wrapped a variety of objects in tightly bound fabric, creating abstract sculptures out of everyday items.

Cumulatively, the works in the exhibition continue Hammond's post-minimal engagement with materials and process and a survivor aesthetic that began with her fabric sculptures in the early 1970s while also anticipating her materially informed paintings of the last decade.

Dan Graham, Carl Andre and Lawrence Weiner were major influences in these early minimalist works, with Weiner's «interruptions» into the building's fabric most familiar to Genzken's own defragmentation of the object.

The work takes its place within her early rise to acclaim, situated between the 1995 fabric tent Everyone I Have Ever Slept With 1963 - 1995, and the iconic self portrait installation My Bed, 1998, which was nominated for the Turner Prize.

Although as early as 1979, graffiti artists Lee Quinones and Fab 5 Freddy were exhibiting in galleries, it was not until the 1980s that artists such as Keith Haring and Jean - Michel Basquiat began to be widely recognized by institutions, critics, and collectors, creating work that applied the styles they had cultivated on the urban fabric onto canvases and prints.

Early in his career Andrews developed a technique of roughly incorporating collaged fabric and paper into his paintings, which became a stylistic hallmark of his work.

His Cardboards from the early 1970s, a wry comment on the forces of globalization, and his sumptuous fabric works such as The Jammers, inspired by his visit to the Indian textile centre of Ahmedabad will be included in the show.

Originally presented by the Museum für Moderne Kunst Frankfurt / Main (MMK) in Frankfurt, Germany, earlier this year, the SCAD Museum of Art's presentation will include several works not previously exhibited: neon work by Kendell Geers, a photo series by Youseff Nabil, large - scale works on paper by Christine Beatrice Dixie, a sound installation by Frances Goodman incorporating bridal fabrics cascading from the ceiling, an outdoor calligraphy garden by Moataz Nasr and a collage by Wangechi Mutu.

Nash has curated several exhibitions focusing on artists» work with the moving image - including his earlier exhibitions Experiments with Truth at the Fabric Workshop and Museum, Philadelphia (2004 - 5) and One Sixth of the Earth, Ecologies of Image at ZKM, Karlsruhe and MUSAC, Leon (2012 - 13).

The sculptures in this exhibition recall in size some of the early domestically - scaled Accumulations, for which Kusama covered such things as ironing boards and travel valises in the stuffed - fabric protuberances, yet the works on view here are painted in the style that has come to characterize Kusama's most recent paintings.

«Art Conversation with Filipa Ramos,» Palazzo Grassi, Venice, Italy, December 12, 2013 «Conversation in Urban Art: Theaster Gates and Steve Edwards,» The Women's Board, The University of Chicago, Chicago, IL, December 10, 2013 «To Dig Constantly, Mining Myself,» The Rapp Lecture in Contemporary Art, Art Gallery of Ontario, Toronto, Canada, November 20, 2013 «Theaster Gates: A Way of Working,» Sears Crosstown Arts Visiting Artist Series, Crosstown Arts, Memphis, TN, November 16, 2013 «Artist Talk: «12 Ballads for Huguenot House» with Theaster Gates,» Krannert Art Museum, University of Illinois at Urbana - Champaign, Champaign, IL November 11, 2013 «Du Bois: The Early Social Practitioner with Theaster Gates,» University of Massachusetts Amherst Architecture + Design Public Lecture Series, University of Massachusetts Amherst, Amherst, MA, November 4, 2013 «Walid Raad and Theaster Gates in Conversation with Mohsen Mostafavi, «On Art and Cities»,» Harvard University Graduate School of Design, Cambridge, MA, October 24, 2013 «A Way of Working,» Vera List Center Prize for Art and Politics Public Lecture, The New School, New York, NY, September 18 — 19, 2013 «Thought Leadership Speaker Series,» Kunstmuseum Basel, Basel, Switzerland, June 12, 2013 «Urban Think & Drink: Theaster Gates,» Metropolitan Planning Council, Chicago, IL, May 22, 2013 «Artist Talk: Theaster Gates with David Levin & Hamza Walker,» Museum of Contemporary Chicago, Chicago, IL, May 18, 2013 «To Make the Thing that Makes the Thing,» 16th Annual Benesse Public Lecture, Cincinnati Art Museum, Cincinnati, OH, April 3, 2013 «Current Perspectives Lecture Series: Theaster Gates,» Kansas City Art Institute, Kansas City, MO, March 28, 2013 «I Believe in Places,» Bemis Center for Contemporary Arts, Omaha, NE, March 27, 2013 «Architecture Lecture: Theaster Gates,» University of Detroit Mercy, Detroit, MI, March 20, 2013 «To Make the Thing That Makes the Thing,» The University of Pennsylvania School of Design, February 2013 «Leading Ideas Speaker Series: Theaster Gates,» in conjunction with Our Literal Speed, The Banff Center, Banff, Alberta, Canada, January 30, 2013 «Theaster Gates: Soul Manufacturing Corporation: To make the Thing that Makes the Things,» Fabric Workshop and Museum, Philadelphia, PA, January 21, 2013

Looking beyond the confines of work or the probable privacy of a sexual encounter, he color - codes off - duty experience (things that transpire, as the Los Angeles artist Mike Kelley's famously put it, after «Day is Done») by employing fabric in two basic hues both redolent of crepuscular or early morning light, the atmospheric brackets, to which Claude Monet also attended, that cordon - off the temporality of normative, wage - earning labor.

She began working on provisory, almost ruin - like looking sculptures as early as the 1960s, using materials that she still employs to date: plywood, cardboard, fabric, plaster, interior paint, plastic, foam or cement.

Often working with every day and found materials such as fabric, glass, wood, metal and ceramics, the artist typically makes small to medium scale organic constructions that combine an almost «Beuysian» shamanistic or ritualistic use of materials with the formalism of early modernist sculptural objects.

Her most recent curatorial project was «Rosemary Mayer: Conceptual Work and Early Fabric Sculptures, 1969 - 1973,» curated with Marie and Max Warsh, on the process - based text work and early fabric sculpture of the founding member of the feminist collective A.IWork and Early Fabric Sculptures, 1969 - 1973,» curated with Marie and Max Warsh, on the process - based text work and early fabric sculpture of the founding member of the feminist collective A.Early Fabric Sculptures, 1969 - 1973,» curated with Marie and Max Warsh, on the process - based text work and early fabric sculpture of the founding member of the feminist collective AFabric Sculptures, 1969 - 1973,» curated with Marie and Max Warsh, on the process - based text work and early fabric sculpture of the founding member of the feminist collective A.Iwork and early fabric sculpture of the founding member of the feminist collective A.early fabric sculpture of the founding member of the feminist collective Afabric sculpture of the founding member of the feminist collective A.I.R..

Her 1980s collage on fabric paintings were presented earlier this year at Ryan Lee, and her work is on view in the group show «The Color Line» at the Musée du Quai Branly in Paris through Jan. 15, 2017.

Galleries highlight different milestones of Halston's career including his early work, designs using innovated fabrics and collaborations with artistic contemporaries including the photographer Hiro, designer Elsa Peretti, the Martha Graham Dance Troup and others.

The exhibition will showcase the wide variety of materials that Bourgeois used throughout her career, including carved wooden vertical forms in the late 1940s, amorphous and labyrinthine poured forms in latex and plaster in the 1960s, carved marble pieces in the late 1960s and early 1970s, Cell installations of the 1990 - 2000s, and fabric and red gouache works late in her career.

UVP and the Everson present the latest chapter in Woolfalk's ongoing narrative, including new video and fabric - based prints made while in residency at Light Work and UVP in 2015, as well as earlier video and sculptural works that provide an overview of the story to date.

Opening: «Alexi Worth: Green Glass Doors» and «Joyce Kozloff: Maps + Patterns» at DC Moore Two new shows at DC Moore: Alexi Worth presents a new collection of works painted of sheer mesh fabrics, and there's a show from Joyce Kozloff in which the artist has, according to the press release, «returned for the first time to the Islamic star patterns that structured her early art.»

Two new shows at DC Moore: Alexi Worth presents a new collection of works painted of sheer mesh fabrics, and there's a show from Joyce Kozloff in which the artist has, according to the press release, «returned for the first time to the Islamic star patterns that structured her early art.»

In his work from the late 1950s and early 1960s, he fused a formalist vocabulary of simple shapes and colors in the tradition of Mondrian or Klee with textiles and prints covered with sinuous lines recalling the calligraphic strokes of the Arabic alphabet or the repeated patterns adorning carpets and fabrics.

Since the early 1990s, Louise Hopkins has used furnishing fabrics, maps, song sheets, comics and pages of magazines to create works that address the process and problems of representation.

In addition to the fabric heads, it also included a series of cell - like vitrines housing curious scenes of ecstasy and torture; a group of totemic figures, reinterpreting in fabric her early sculptures from the 1940s and»50s, and a selection of graphic works.

The current exhibition, Smith's third solo show with the gallery, features his earliest works on fabric.

The suspended work, Untitled (1989), is a mixed media on synthetic fabric double - sided masterpiece, singular in nature and unlike any of the output from America's Pop - fathers, Rauschenberg and Johns, of whom Polke was an early adopter.

Grabner's paintings are a particular focus of the exhibition, spanning early works based on textile patterns appropriated from her domestic environment; her shift to abstraction, which continued her interest in repeated forms and gestures; and recent works that revisit textiles directly through the use of torn fabric and brightly colored gingham patterns.