Sentences with phrase «early pieces created»

These include sculptures made of Sandback's trademark acrylic yarn as well as some of his earlier pieces created from metal rods and elastic cord, that speak to the idea of delineating space.

Not exact matches

Earlier this week, I went to a small town about 40 minutes east of where I live to speak on behalf of the immigrant community in the hopes that the city council wouldn't vote to oppose SB 54 (California's major piece of legislation that creates real limits on state and municipal law enforcement from being used for immigration enforcement).

One of the signature pieces of the comprehensive set of proposals that Senator Klein will prioritize in 2018 is voting reform, which includes early voting, no - excuse absentee voting, automatic voting registration and expanded voter registration deadlines to create a healthier, well - participated democracy in New York.

Silk scarves are the first pieces I chose to create because they are reflective of a special moment early on in my life.

It was created by Copper Corners just for me earlier this year, and I love having an original piece.

As I mentioned earlier, even a few home decor statement pieces are enough to create a festive mood if you choose the right pieces.

This early test edit of the real match would help Martin work with directors to create the perfect climactic set piece for their film.

Certainly when dealing with a subject who is not only alive but still serving in office (unlike Stone's earlier films about Nixon and Kennedy), it would be impossible to create a political piece that passes everyone's test of objectivity.

Only snippets of author Eric Schlosser's collected data is actually inserted into the final product, like an early scene that discusses how chemicals are used to create unique tastes, and none of it feels particularly genuine when displayed as comedic set pieces.

Students knew that this was the beginning of our religion unit and had spent time earlier in the week attempting to create a definition of religion, yet if felt as if no one knew how to successfully put these different pieces together into larger, coherent ideas with greater meaning.

Once the seven paintings by Martin, from the 1960s through the early 2000s, are installed and lit, Tuttle will create new wire pieces that respond to the paintings and engage with the distinct light and shadow of their illuminations.

Important early works, «With Dead Head» (1991) and the «Natural History» piece «Away from the Flock» (1994), were exhibited alongside a butterfly monochrome diptych created specifically for the collection: «Monument to the Living and the Dead» (2006).

Select pieces in the exhibition were created for LG's «The Art of the Pixel» nationwide competition held earlier this year.

On view are many never before exhibited works, including watershed pieces from the AfriCOBRA period, as well as works reflective of the epiphany Williams had when first visiting Africa for Festac» 77, the Second World Black and African Festival of Arts and Culture, plus multi-media pieces created throughout the 1980s, 90s and early 2000s during the artist's time in Asia and Europe, along with select contemporary works.

The exhibition also features First Sounds (2012), a piece Tang created in collaboration with astronomer Mark Whittle, who used computer calculations rooted in the Cosmic Microwave Background data to recreate the fundamental tone and higher harmonics of the sound of the early universe.

It's fascinating to think of Schapiro, inspired by the discourse she was helping to create, doing these pieces when she was able to return to her studio after the intense period of working with the feminist program on the Womanhouse project in the fall of 1971 and early winter of 1972, but before she had a name for this work, before «femmage» and «pattern and decoration» became movements and personal brands, with their declarative power but sometimes restrictive effect on art practice.

Recently his imagery is more about visual and spatial perception, and he has also moved away from his early monochromatic renditions to create more colorful pieces.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

In the early 1960s, she began creating white and gold pieces, and enclosing her small sculptures in wooden boxes.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

Presented by Art Basel in collaboration with Kaserne Basel, L.A Dance Project will perform Merce Cunningham's «Winterbranch» (1964), an early piece Cunningham created together with Robert Rauschenberg (concept, costumes, lighting design, accessories) and La Monte Young (music); and «Moving Parts» (2012), a collaboration between dancer and choreographer Benjamin Millepied and artist Christopher Wool.

She collaborated with Ulay from 1976 - 89, created some of the most iconic early performance pieces, and is one of few artists of her generation who continues to make important durational works.

On view at the Met from October 19 to February 20, 2017, «Max Beckmann in New York,» focuses on 14 paintings the German artist created during the last two years of his life, when he had been living in New York; also included are earlier works culled from New York collections — some 40 pieces in all.

Presented publicly for the first time in an accompanying special exhibition at the Deutsche Guggenheim in Berlin, this new work is shown alongside earlier pieces — both black - and - white photographs as well as transparencies mounted in light boxes — to create an ensemble that resonates formally and thematically.

Highlighting Qatari artist Yousef Ahmad's most striking artworks, from 1970s to today, this exhibition showcased three phases in Ahmad's artistic career, from early oil paintings to mixed media calligraphic pieces, to his latest contemporary pieces derived from the medium he creates.

Inspired early in his career by modern dance — notably through his relationship with members of New York City's influential Judson Church dancers — and Japanese Zen gardens, the artist sought to create works that engage viewers in movement, taking in his large - scale sheet - metal pieces by navigating the space around them.

Trippy optical illusions created by Richard Anuskiewicz («Summer Sunset Reds,» 1982) and British artist Bridget Riley («Shuttle II,» 1964) and an earlier op - art piece by Victor Vasarely («Ixion,» 1956) share the space with color works by Ellsworth Kelly — beloved by the Atheneum as the first artist in its long - running MATRIX contemporary - art series — Barnett Newman, Paul Feeley and two of Josef Albers» «Homage to the Square» paintings, which complement two works by John McLaughlin.

The earliest piece, I Am Sitting in a Room (1969), is a slide - and - sound installation created with composer Alvin Lucier, where duplication of analogue, audio recordings, and Polaroid photographs compromise media integrity.

The notion of jewelry as miniature sculpture is nothing new — in the early 20th century, big names like Pablo Picasso, Salvador Dali, and Max Ernst began creating wearable objects, while Alexander Calder went on to produce one - of - a-kind pieces as a part of his extended artistic practice, crafting almost 2,000 during his lifetime.

The early paintings in this group, from 2011, show a direct connection to the still life paintings in that they are larger versions of the small pieces used to create the oil collages.

In the case of Marfa, he has chosen to create a piece of music in honor of beloved Texas arts patron Toni Beauchamp, who passed away earlier this year.

Rusty things...» A number of these tiny pieces were shown at Half Gallery earlier this year; Martinez also created painted - bronze versions of some, which were nearly impossible to distinguish from the originals.

Another early work, Music Box (Time in a Bottle), 1994, one of Hawkinson's first motorized pieces, created from an end table, a thermos, and steak knives nailed together, will also be on view.

It was this decade that fueled her 1966 work Mend Piece for her first solo show in London at the Indica Gallery, and an earlier work, Promise Piece (1961); in 1997, Ono created Crickets, a work of silence and void left by human destruction.

Throughout her youth, Kara began experimenting with various avant - garde styles, creating pieces in order to tell a story or make a statement rather than achieve beauty or perfection — in that sense, her work was much closer to the earliest avant - garde movements of Europe than her contemporary fellow artists such as Jasper Johns, who also dabbled in explorations of the early 20th century art.

Here, Tom discusses an early model created for it, the process and materials, translating the piece from model to work, the troubles with creating a large piece and his use of color for it.

As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces and is the only one still making important durational works.

The works are arranged more or less chronologically with the earliest pieces on the top floors, and more contemporary works installed on lower levels, including Hartley's Painting Number 5 (1914 - 15), created during the artist's stay in Berlin.

This solo exhibition showcases a new Garry Fabian Miller tapestry created in collaboration with Dovecot Tapestry Studio, placing it within Garry Fabian Miller's recent body of work as well as tracing back long term influences through key early pieces from the artist's career.

He begins to make monumental pieces created by literally transforming a number of small - scale watercolors from 1916 - 1918 — pasting large strips of paper around the early watercolors to increase their size and reworking these new compositions into unusually large ecstatic watercolor visions.

Exhibition «Keys to a Passion» held from 1st April to 6 July 2015 at Fondation Louis Vuitton gathered many an iconic piece, lent by the greatest museums and private collections in the world, so bold and daring at the time they were created they marked a turning point in the history of art in the early 20th century: from Monet, Mondrian and Hodler to Malevitch and Rothko, from Bonnard to Picasso, from Munch to Giacometti and Bacon, from Delaunay and Léger to Picabia, from Matisse and Kupka to Kandinsky...

The Banksy - endorsed «handling service» Pest Control will authenticate Banksy's work, with the exception of his early pieces, which were created without permission before the artist's fame had begun to develop.

His early piece Declaration of Intent (1968), created during the heyday of Abstract Expressionism, brings a wry criticism of the nature of art by creating a list of simplistic written terminology.

Mutu's site - specific piece originated with an earlier work she created in 2010.

The inaugural exhibition of American Pop artist Ray Johnson presents works of «multiple dates», collages re-working earlier pieces, each time creating new works over years even decades, meticulously dating each intervention.

Early Abstract Expressionist pieces — especially work by Pollock, de Kooning, Newman, Motherwell, Kline, Arshile Gorky, Lee Krasner, and Richard Pousette - Dart — relied heavily on line to convey both symbolic and emotional meaning, but autonomous line, not in service to the grid or created through masking techniques, is rarely the primary focus in painting these days.

Paintings by the early Australian modernist Roy De Maistre, for example, share a space with a series of pieces by the young Dutch artist Riet Wijnen, whose interest in «the impossibility» of pure abstraction has led her to create a fictional dialogue between Grace Crowley (also a pioneering early Australian modernist), and the British constructivist Marlow Moss.

She conducted extensive research in archives, both online and physical, but instead of presenting a video or a gallery installation, as she had done with earlier pieces based on found objects, she created an Off Off Broadway solo show.

Organized by guest curator Gregory Volk, Michelle Stuart, Theatre of Memory: Photographic Works consists of twelve recent large - scale works — including a major wall piece created specifically for this exhibition — as well as two important pieces from the early 1980s that can be seen as precursors to Stuart's later direction.

The exhibition includes some of these earlier pieces, all created with the artist's customary sense of urgency.