This catalog brings together Shapiro's
early wood reliefs, created between 1978 and 1980, with his recent site - specific installation practice, exploring the ways in which both bodies of work create expansive, joyful moments of discovery and play.
This catalogue brings together Shapiro's
early wood reliefs, created between 1978 and 1980, with his recent site - specific installation practice, exploring the ways in which both bodies of work create expansive, joyful moments of discovery and play.
Not exact matches
When I saw his architectonic
relief paintings of the
early seventies with new materials like
wood, felt, and different levels, slopes, and planes they struck me by their relationship to Picasso's Synthetic Cubism and Picasso's Cubist sculpture and Jackson Pollocks» cut out paintings like Out of the Web.
Schoonhoven's first
wood and papier maché
reliefs mimic the geometric hieroglyphs of his
early drawings.
«Claire Falkenstein: Matter in Motion» explodes this narrow view with nearly 50 works, introducing a relentless exploration of abstraction in
early paintings on canvas and also curved perforated aluminum; sculptures of
wood and glazed ceramics; and one fantastic mixed - media
relief.
Heinz Mack, Licht - Glas, 1969 Plexiglas, glass, aluminum, and
wood 22 x 27 x 4 inches January 7 — February 19, 2011 Sperone Westwater is pleased to announce the first survey of Heinz Mack's
early metal
reliefs (1957 — 1967).
With a self - imposed mandate to free painting from the confines of two dimensions and release it into a three - dimensional realm, Mr. Stella changed gears in the
early 1970s to produce
relief - like painted constructions made out of aluminum or
wood.
Influenced initially by the still life painting of his father William Nicholson (1872 - 1949), and by Cubism, he achieved his creative peak
early on in life, with his famous series of «White
Reliefs» - low
relief sculpture in painted
wood, made between 1934 and 1937, after which he and his second wife Barbara Hepworth (1903 - 1975) established the St Ives School in Cornwall.
Completing the exhibition are four sculptures in steel and
wood, two wall
reliefs related to the artist's
earlier vitrine assemblages, and two vertical sculptures that almost match the totems in height.
In the
early 1970s, the artist attracted attention for his wall -
relief wood sculptures, such as Honeymoons in the collection of the Honolulu Museum of Art.