Sentences with phrase «early installations such»

The retrospective features Oldenburg's iconic early installations such as The Street and The Store, in addition to his original designs for colossal monuments for public spaces and the Mouse Museum — a miniature, walk - in museum in the form of a Geometric Mouse, filled with nearly 400 souvenirs, kitsch objects, and studio models.

Not exact matches

Dr. Nowotny has received prestigious research grants, such as EMBO Installation Grant, the ERC Starting Grant, the Wellcome Trust International Senior Research Fellowship (twice) and the Howard Hughes International Early Career Scientist Award.

Viewers will be able to see pieces ranging from her early paintings inspired by the use of LSD to later works such as her «What It's Like What It Is # 3» (1991), a large scale mixed media installation addressing racist stereotypes.

Emin's work is uninhibited in the way it absorbs and reflects her personal life - whether in seminal installations such as Everyone I Have Slept With 1963 - 1995 and My Bed, her early performances and videos such as Why I Never Became a Dancer, or her writings (which include a memoir, Strangeland, and a period as a newspaper columnist.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Brice majored in painting at Michaelis UCT, her early work included constructed artworks combining found objects, or domestic materials such as linoleum, with steel to make wall artworks, installations and sculptural pieces.

In the second gallery, Hatoum will exhibit Cells (2014), a steel and glass work whose form relates to earlier iconic installations such as Light Sentence (1992).

Robert Irwin, who began his career in L.A. in the late fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to such an installation early next year).

Organized around nearly 30 major projects and installations, the volume ranges from Vo's early performative works such as Vo Rosasco Rasmussen (2003), in which he married and divorced acquaintances in order to add their surnames to his own, to his recent sculptural hybrids of classical and Christian statuary.

Since 2000 Allen has re-staged a number of early works, such as the two - part installation O - AR (1974) and the early performances Contact (1974), Poetry for Chainsaws (1976), News (1976) and On Planting a Native (1976) in Adelaide, Sydney, Auckland, New Plymouth and Wellington.

Spotlight, meanwhile, dedicates space to underrepresented twentieth - century work, whether lesser - known moments in the careers of recognized artists (such as Mary Kelly's mid-1980s installations, or Jo Baer's early gouaches); artists coming into or returning to critical attention (such as Robert Filliou and Alan Shields); or artists working from a non-Western perspective (such as Zahoor ul Akhlaq, Abraham Palatnik, and SH Raza.)

These works include her richly layered wax paintings and poured latex and polyurethane foam sculptures of the late 1960s and early»70s; innovative videos, installations, and «knots» from the 1970s; metalized, pleated wall pieces of the 1980s and»90s; and pieces in a variety of other mediums, such as glass, ceramics, photography, or cast polyurethane, as in the case of the monumental The Graces (2003 — 05).

If early efforts by video pioneers such as Nam June Paik, Bruce Nauman and David Hall took the definition of an art object beyond its conventional parameters as a static entity produced for visual consumption, perhaps the greatest strength of video art triumphed in this show is the unprecedented potential of experiential interactivity between artist, installation and spectator.

Beginning with early 20th century paintings by French artist Suzanne Valadon and ending with works by up - to - the - minute figures such as Japan's Mariko Mori, Switzerland's Pipilotti Rist and England's Rachel Whiteread, «elles» will offer an international array of paintings, sculptures, installations, drawings, photographs, prints, videos, furniture and architectural models.

Spotlight meanwhile, dedicates space to underrepresented twentieth - century work, whether lesser - known moments in the careers of recognized artists (such as Mary Kelly's mid 1980s installations, or Jo Baer's early gouaches); artists coming into or returning to critical attention (such as Robert Filliou and Alan Shields); or artists working from a non-Western perspective (such as Zahoor ul Akhlaq, Abraham Palatnik, and SH Raza.)

What to see at the museum The large collections of fine arts of the Smithsonian American Art Museum include paintings, sculptures, drawings, prints, photographs, installations, videos and new media, ranging from early colonial times to contemporary American authors such as Nam June Paik, Barbara Bosworth, Robert Longo, Sean Scully and Jim Campbell, among others.

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

An LA - born installation and performance artist working with the early web, Scher's practice often concerns themes of surveillance culture in online works such as Securityland and Wonderland.

From his early works in the 1990s, such as the «illusory» optical machine Beauty (1993), to the architectural project developed together with Henning Larsen Architects (Reykjavik Concert Hall, 2005 - 2011), to his recent «total artworks» like Seu corpo da obra (2011) and installations like Big Bang Fountain (2015), Eliasson always expresses his fascination with the world of perceptions, sometimes physical, sometimes immaterial — but always transforming passive visitors into «inhabitants», as well as with the hybridization of different languages, means of expression and temporal planes.

Subsequent projects Morris made during the late 1960s and early 1970s include indoor installations of such unorthodox materials as dirt and thread waste, which resisted deliberate shaping into predetermined forms, and monumental outdoor Earthworks.

Since moving to the states in the early»90s, much of artist Do Ho Suh's work has explored the concepts of space and displacement, most notably through massive installation structures that re-create places such as his childhood home in Korea or an old New York City apartment.

The museum's major holdings are California - based, highlighting such movements as early and mid-century modernism, Bay Area Figuration, assemblage, California Light and Space, Pop Art, Minimalism, and installation art.

Her layered installations, videos, and sculptures begin with wide - ranging yet highly specific references, from young - adult fiction and early 2000s cartoons, like Clone High, to autobiographical events and violent media spectacles, such as the 1999 Columbine High School shooting.

«A very early practitioner of socio - political Happenings and installations,» notes Kathleen A. Edwards, UIMA's chief curator, who organized the show, «Picard was several generations older than groundbreaking female performance artists such as Carolee Schneemann and Hannah Wilke.

It can be read as an early indicator of her need to impose a limiting framework upon herself — in this case an imagined box — but the score also connects her choreographic work to concurrent visual arts practices.17 Locus» gridded demarcation of the cube echoes any number of contemporary works, such as Robert Barry's sketches for wire installations and Mel Bochner's Measurement Room (1969), for which the vertical and horizontal dimensions of a room were inscribed directly onto the walls of the space, drawing attention to the physical characteristics of the gallery itself.

From his early multichannel video installation diamond sea, 1997, to his more recent performance - based works, such as SONG I, 2012/2015, the exhibition unfolds around the major moving - image installations that articulate Aitken's central subject matters, from catastrophic environmental depredation to unprecedented technological mediation; self - contained, decentralized communication; and the incursion of commerce into every aspect of our social relationships.

Although Lowman's work is influenced by such earlier appropriation artists as Andy Warhol, Richard Prince, and Cady Noland, his own brand of image recycling disperses into an unstructured installation - environment in which posters, record jackets and silk - screened imagery create a large - scale narrative that ruminates on specific issues, from American gun culture to celebrity cults.

His early works such as miniature installation and ink drawings mainly dealt with competitive society and individualism.

I can also see connections to other of the early site - specific installations, such as the «White Chalk Quarry» project

Whilst these sculptures evoke the work of Minimalist artists such as Donald Judd, it is perhaps more accurate to reference the early installations, performance, and instructional works of Bruce Nauman.

The piece, which sold early in the weekend, is a fascinating departure from the hyperrealistic sculptures of human figures and plants for which Matelli is best known, as seen in such prominent recent public installations as the High Line.

Although Piper's early and student work made use of traditional fine art media such as paint and canvas (such as The Body Politic, 1983), [3] from the late 1980s he became primarily associated with technically innovative work that explored multi-media elements such as computer software, websites, tape / slide, sound and video within an installation - based practice.

VIERIA»S FIRST SOLO exhibition, in 2006 at Small A Projects in Portland, Ore., featured ink drawings that reference passages from 18th - century historical paintings by artists such as Hubert Robert, Platonic installation of geometric forms, paper tube sculptures resembling columns and striped works on paper evoking early versions of the American flag as allusions to the American revolution.

The catalogue accompanies the first U.S. mid-career survey of this important Dutch artist's work in photography and video; it features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstra's later work including her most recent video installations.

Regardless of the lack of critical writing that exists about these works, it can not be denied that early video sculpture influenced the trajectory of video's use in art and expanded its influence to other mediums, such as sculpture and installation.

Early in his career Melgaard created controversial installations referencing subversive subcultures such as S&M and heavy metal music, discussing, investigating and pushing the boundaries of societal acceptance.

«For the first time, Kimsooja's early textile pieces from the 1980s, her Deductive Objects, the large site - specific installations such as Bottari Truck, as well as her acclaimed multi-channel video projections are presented together in this significant retrospective.»

Organised in full collaboration with the artist and his studio, the exhibition spans from his early multichannel video installation diamond sea, 1997, to his more recent performance - based works, such as SONG I, 2012/2015.

The show's curated In / Situ sector, which took installations and performances and sprinkled them throughout the show, the Navy Pier and Chicago also held highlights, such as Narco Headlines, from Julio Cesar Morales, and a room for Hank Willis Thomas» For Freedoms, a super PAC (and also an artwork in and of itself) to fund art, that he formed earlier this year.

During the late 1960s and early 1970s, Camnitzer developed a body of work that explored language as primary medium, shifting from printing text on paper or walls, such as his Dictionary etchings and the room - size installation, Living Room (both 1969).

Pierogi represents the work of emerging, mid-career, and established artists engaging in conceptually driven, process oriented work in a wide range of media: from the diagrammatic drawings of Mark Lombardi, the large - scale, nuanced still life drawings of Dawn Clements, and the interactive installations of Andrew Ohanesian, to the historically significant work of Kim Jones (who began his career as a performance artist in LA in the early 1970's), as well as curated exhibitions such as the award - winning Dead Tree installation (a recreation of the Robert Smithson work originally shown in Dusseldorf's Kunsthalle, 1969).

In 1973 he cofounded N.A.M.E., which nurtured the early careers of such vanguard installation artists as Dennis Kowalski, Lorenzo Pace, Robert Peters, and Charles Wilson (all in «Art in Chicago»).

All the major American artists and works from the seventeenth century to today are included, such as epic history paintings by Benjamin West and John Singleton Copley; sublime landscapes by Thomas Cole, Albert Bierstadt, and Frederick Church; society portraits by John Singer Sargent; groundbreaking abstract expressionist and pop art by Jackson Pollock, Barnett Newman, and Andy Warhol; and challenging sculptural, installation, and video works from more recent years by Robert Gober, Fred Wilson, and Matthew Barney In architecture, dozens of different building types are illustrated and discussed, from the earliest colonial houses and churches to the most spectacular modernist and postmodernist houses, stations, museums, and iconic skyscrapers.

The exhibition includes his early Fluxus performances (in particular his collaborations with Charlotte Moorman in the 1960s), icons of media art such as TV Buddha from the 1970s, his manipulated videotapes and well - known Robot and TV sculptures from the 1980s, as well as his late large - scale installations.

The artist's first US museum survey, curated by Omar Kholeif, Manilow Senior Curator at the Museum of Contemporary Art Chicago, features early works, a new commission and major installations, such as The invisible enemy should not exist (2007 - ongoing), a lifelong project by the artist to reproduce to scale items looted from the Iraqi National Museum, each made to scale and using recycled food supplies from Middle Eastern food stores in the United States.

The show offers the chance to see pieces by less familiar artists as well as early or underknown works by key figures, such as Mike Kelley's first installation, Untitled (from The Little Girl's Room), 1980, consisting of objects and images obliquely suggesting a young girl's bedroom, and Eleanor Antin's cardboard airplane with cutout figures that served as the set for her feature - length video The Nurse and the Hijackers (1977).

Flood has been making his lace paintings since the early 90s; their process of manufacture and slightly kitschy image derived from actual lace encourages us to look at these seductive beauties with a jaundiced eye; 2) The exhibition includes site - specific installations made of absurd pseudo-posters, multi-media, ephemera, collages, text paintings, and documents from the last decade that remix pop culture and critique systems of mass cultural distributions such as rock videos and albums.

There are approximately 60 works in the exhibition including vessels, furniture, sculptures, paintings, installations and works created since 2000 by an international roster of artists, craftspersons, and designers such as Alexandre Arrechea, Martin Baas, Gary Carsley, Andrew Early, Sebastian Errazuriz, Maria Elena Gonzalez, Silas Kopf, Mark Lindquist, Sofia Maldonado, Matthias Pliessnig, Martin Puryear, Betye Saar, Hiroki Takada, Alison Elizabeth Taylor, and Ai Weiwei.

Early works from the late 1960s are shown alongside recent installations dealing with topical themes such as climate change and extinction.

Such early installations would help CDR companies: