Sentences with phrase «early sculptural work»

He developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

John McCracken (1934 — 2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s.

John McCracken (1934 - 2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s.

Like the microphones in his earlier sculptural work, his current wall - mounted installations seek to translate and communicate, interweaving Old and New World messages through different media and new localities.

Her early sculptural works were made of pastry, caramel, and other perishables.

Similarly, notions of institutional critique are prefigured in earlier sculptural works such as «Falling Wall» (1993 — ongoing), in which proletarian beams of wood prop up a precariously tilting side of the pristine white cube.

In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto's early sculptural works.

Taught 1965 — 66: University of California, Irvine 1966 — 68: University of California, Los Angeles 1968 — 69: School of Visual Arts, New York City 1971 — 72: Hunter College, New York 1972 — 73: University of Nevada, Reno 1973 — 75: University of Nevada, Las Vegas 1975 — 76: University of California, Irvine 1975 — 85: College of Creative Studies, University of California, Santa Barbara Internationally recognized John McCracken commenced developing his earliest sculptural work while in grad school at California College of Arts and Crafts along with Minimalists John Slorp and Peter Schnore, and painters Tom Nuzum, Vincent Perez, and Terry StJohn, 1964, 1965.

Not exact matches

This also tells the story of art and the development of sculptural form in Art and how art develops through the ages from Paleleolithic, Egyptian, Greek - Archaic, Classical, Hellenistic Art and Gothic Art following with Early Renaissance and the work of Donatello to the work of Michelangelo in Late Renaissance.

I have some intriguing private commissions coming up and a couple of really large projects for autumn 2018 that sadly I'm not at liberty to release information about yet, but suffice to say that my developments in thatch on a larger scale are hopefully set to continue, and I'm also slowly developing new designs for very large sculptural forms using a dry stone walling technique (potentially working with a small team of dry stone wallers) but my projects and locations of new works won't be formally announced until early 2018.

While many of Sandback's early pieces retained a ghostly sculptural quality by tracing the contours of simple geometric figures, these works have decomposed into clusters of pure vertical projections.

This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures of Otero's oeuvre to date, from his early still lifes and famous «skins» — paintings made of fragments and scraps of oil paint culled from previously painted images — to his more recent «transfers» and innovative sculptural work in porcelain and steel or iron.

California (Sacremento to be exact), native, Liz Larner presents a new body of work at Regen Projects in Los Angeles, but what is happily off - kilter about this bold, sculptural presentation, is that coupled with it viewers find a side gallery in which an earlier selection of notably smaller, object - based works acts as an unusual and telling counterpoint.

Much of Helen O'Leary's work materially recycles her own earlier paintings panels, which she cut into scraps and strips and pieces together — she calls it knitting — to form something new and often sculptural.

While earlier, enamel works focused on line and flatness, her move to oil paint in 2001 has resulted in a sculptural, almost three - dimensional style.

Included in the exhibition 20 Years: Art Projects International will be an early poetry painting by Pouran Jinchi, Untitled (Poetry # 98 - 1)(1998), exhibited at The Vilcek Foundation in 2008, and a number of her sculptural prayer stone works, among them Prayer Stone 2 (2011), featured at the Asian Art Museum in San Francisco and similar to her work exhibited at the Museum of Fine Arts Boston earlier this year.

This exhibition follows the artists from their early video installations and websites to later large - scale sculptural work and feature - length films, screened daily in a gallery cinema.

The controlled minimalism of his works in the late 1950s and early»60s gave way to maximalist riots of colour later in his career — with subsequent works surpassing 2D canvas to become sculptural.

This is the largest Gormley exhibition held in Germany to date, bringing together works on paper, large - scale installations, and indoor and monumental outdoor sculpture that span the artist's sculptural journey, from the early 1980s to site - specific works created this year.

The space of the Faena Arts Center is characterized by its industrial scale, and Neto's earlier work makes special use of height to elevate the spectator on the one hand — by offering them fresh perspectives on his work and occupying a different aerial space — and, on the other, to hang his characteristic nets and tubes that supports his sculptural work and breathes life into the architectural space.

The fault lies partly in the uniform lighting; partly in Selldorf's choppy and somewhat clunky installation, which misuses the famed 15,000 sq ft of open space to rob the sculptural work of adequate breathing room; and to a larger extent on too great an emphasis on Stella's enduring vigour, which, given that the later works were farmed out, rings hollow and does grave disservice to the impregnable place of his early work in a meaningful history of art.

His work, from early minimal objects to increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction.

The exhibition at David Zwirner will include a work from 1969, one of a series of sculptural variations originally planned for installation at the Heiner Friedrich Gallery in Munich (where the artist had one of his earliest solo exhibitions in 1968).

This concise survey of over 30 years of work will include a suite of preparatory drawings and sculptural work made from the early 1980s to the present in materials ranging from corrugated cardboard and medium - density fiberboard to aluminum, wool, polyester, poplar, faux fur, fleece, mahogany, brass, copper, and steel.

Although Hunt was not interested in pursuing an early and brief involvement with earthworks, he wanted to include the concept of monumental scale in his work, «using a more classical, compact kind of sculptural form» (View, 1980).

In developing his own sculptural style, Hunt drew on these early experiences, believing that sculptors must address new concepts of space in their work.

Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall - based works that engage the legacy of painting, sculptural installation, and assemblage using manufactured materials like shea butter, books records, and incense.

The show opens with his earliest works, including his own 1977 home in Los Angeles, constructed of plywood, wire mesh and corrugated metal (heavily inspired by the rough - hewn materials artist friends Robert Rauschenberg and Jasper Johns used at the time), and moves to the brilliantly engineered, sculptural forms that define his work today.

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.

Filled with dazzling reproductions of Deschenes's installations and lush work, this book includes her key bodies of works, from early color studies to recent hybrid photo - sculptural installations that playfully interact with their environment.

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.

Adam Weinberg: Raft of the Medusa is a sculptural work that is actually very painterly in many ways, because although it's hard to believe, it actually is more related to what he did early on in the Black Paintings than you might think.

[this quote needs a citation] Hirst has openly acknowledged his debt to Bacon, [45] absorbing the painter's visceral images and obsessions early on and giving them concrete existence in sculptural form with works like A Thousand Years.

Spanning the late «40s through the early «60s, these works examine Abstraction based upon oblique evocations of the fragmented body and the influence of the unconscious, with seriality and repetition emerging as essential idioms of a new sculptural language.

The latter are glazed ceramic vessels that are more figurative and sculptural, a new medium for Ramirez and reminiscent of his earlier work and installations.

This follow - up volume to 2006's collection catalogue, Minimalism and After, concentrates on the photographic, video, mixed media, sculptural and commissioned works that the Daimler Collection has acquired since the early 1990s.

Serving as an important contribution to recent scholarship on the artist, the extensive exhibition catalogue is anchored by richly detailed plates of the artist's sculptural reliefs and works on paper made primarily between the mid-1950s and early 1970s.

The show presents an in - depth look at Murakami's works from the 1980s to the present, from his early works as an art student to his ambitious sculptural work of recent years.

The monochromatic sculptural pieces, like Giallo Cromo (1961), recall, instead, the modernist work of Louise Nevelson, the American sculptor who, in fact, made her European debut right at that time, in the early 60s.

Her work shifted from the multi-layered, dimensional surfaces of her early, sculptural work to the flatter paintings with cutouts filled with transparent muslin and the creation of floating pieces hung from the ceiling.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

Feelings ranges from the earliest work in Creed's oeuvre, Work No. 3: Yellow Painting (1986), to recent video and sculptural works, produced over the last ywork in Creed's oeuvre, Work No. 3: Yellow Painting (1986), to recent video and sculptural works, produced over the last yWork No. 3: Yellow Painting (1986), to recent video and sculptural works, produced over the last year.

While his early works were often compared to those of Swiss painter Paul Klee and Dutch painter Piet Mondrian, Schoonhoven developed a unique series of sculptural reliefs beginning in the 1960s, whose simple but evocative geometric compositions were profoundly influential to both local and international postwar artists.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

German artist Isa Genzken, who recently had a major retrospective at MoMA, is well known for her sculptural work since the early 2000s, which is made up of both items that the artist finds on the city street and high - end pieces of designer furniture purchased from stores.

Beginning in the mid-1970s, Burden began developing a sculptural practice that incorporated the kinetic and durational aspects of his earlier action and performance projects while removing his own body as one of the central features of the work.

Since the early 1990s, she has created a wide range of film, video, and installation - based works whose sculptural forms engage spatial perception in physical, as well as conceptual, terms.

To create these abstract assemblages, which merge various types of sculptural processes from her earlier works and references to art historical precedents, Bove combines three different types of steel.

Widely known for her fluid, dynamic imagery and inventive figures, with these works Essenhigh has furthered her move from the flatness and line of her earlier enamel paintings towards an almost sculptural three - dimensionality that places these images in the realm of an imagined real.