Sentences with phrase «fabric sculptures by»

Victoria Miro featured three new fabric sculptures by acclaimed Korean artist Do Ho Suh in a special presentation at Frieze London 2015.

In this category of organic Minimalism, the show also includes work from outside of India: draped - fabric sculptures by Joël Andrianomearisoa of Madagascar and, with a sensibility close to Mr. Hore's, sheets of paper covered with pin pricks and scratch marks by the Dubai artist Mohammed Kazem.

The tie dyed wooden, metal and fabric sculptures by the celebrated artist Sarah Braman are not only a major highlight of the exhibition, but also tell the story of Rubenstein's friendship and working relationship with Braman.

Not exact matches

Upcycled Bird Sculpture by Laurie Coyle Designs (LaurieCoyleDesigns.Etsy.com); made using fabric scraps from a friend's handbag - making business, fulled sweater remnants from another friend's blanket - making business, metal scraps from my husband's metal - working and wood salvaged from our home - improvement projects.

Interiors inspired by the beauty of the ocean, incorporate light and rustic colors by natural woods, elegant chic fabrics and hand selected Dominican art and sculptures.

In the past, Nengudi has reinforced her interest in the communal aspect of art by working with collaborators who touch and move the sculptures; here, the works» fabric is set atremble by fans.

Color Field pioneer Sam Gilliam, for example, first applied acrylic paint to raw, unprimed canvas by staining it like a piece of fabric, as realized in the sculpture - painting hybrid Hedge Sky.

At MASS MoCA VanDerBeek presents a group of new works, including photographs and two cast - concrete sculptures, which are influenced by the museum's history as a producer of printed and dyed fabrics.

Xavier Hufkens is pleased to announce an exhibition of late fabric sculptures and gouaches by Louise Bourgeois (1911 - 2010).

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitalism.

Presented by Galerie Eva Presenhuber (Zurich), «Untitled (Pallet 9, Pomona)» (2013) by Sam Falls explores the collapsing of photography, painting and sculpture as he exposes an orange fabric to the effects of the sun.

Drawn to soft and pliable materials including fabric, hide, and rubber, Hlobo's early sculptures and ritualistic performances were equally informed by traditional Xhosa culture and gay pageantry; his most recent solo exhibition, «Sewing Saw,» attempted to deconstruct his attraction to malleable raw materials.

They are supplemented by two early paintings, several drawings and, most important, 23 sculptures that sum up her various sculptural uses of wood, bronze, marble, resin and stuffed fabric.

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.

Fabric Workshop features Philly artist By Edward Sozanski» -LSB-...] Tristin Lowe's contribution, a monumental sculpture, is a piece that would normally dominate such a group show; perhaps it does if one sees it last.

More than 50 craftspeople working in wood, metal, and fabric feature in the long - running fair, while paintings and sculptures by regional artists are included in the institution's exhibition.

There are many examples, ranging from rock and hair sculptures to vibrantly lyrical Kool - Aid paintings and his rugged use of black rubber, fabric, concrete, and steel, not to mention his snowballs and paintings concealed by tarpaulins.

The artist has sewn the sculptures with fabric from border patrol uniforms, and many of the works feature embroidery crafted by immigrant workers that relay their own individual stories of crossing the border.

While Dash literally worries her diminutive textile sculptures to pieces, the majority of these works (all Untitled, 2016)-- composed primarily of stacked or beveled arrangements of jute - stretched canvases, quantities of gessoed or hand - painted fabric, and lengths of twine embedded in or hanging from troweled - on adobe grounds — feature tactile surfaces manipulated by the sure hand of composure.

In addition, the exhibition includes a classic fabric and metal wall assemblage by Lee Bontecou as well as several welded metal and glass sculptures by California artist Claire Falkenstein.

The show creates visual surprises and harmonies between the artists» two different approaches to art making: sculptures by Ernesto Burgos and painted fabric works by Chris Duncan.

William de Morgan wall tiles on display in the Pre-Raphaelites gallery will be referenced in a new piece from Vasconcelos» «Tetris» series (made with tiles, crochet and various fabrics), while a new work for the «Cement Sculptures» series is also being created in response to the gallery's sculpture Atalanta (1888) by Francis Derwent Wood and the painting Eve Tempted (1877) by John Spencer Stanhope (both on display in the Victorian gallery).

From left: Jessica Stockholder's «Between the Lines,» from 2017; center, sculptures by Nancy Shaver (forefront) and Judith Scott (background); and a quilt by Rosie Lee Tompkins that is made of found fabrics, including segments of an American flag and a towel depicting Jesus.

The current ceramic exuberance was played out repeatedly — the worlds that Milena Muzquiz fashions into vases and Chris Antemann's takes on Meissen porcelain the most memorable — and sculpture in fabric by Francoise Grossen and Paola Pivi (whose fluffy polar bear That's Right You Better Believe It (2015) added feathers) reached for the bar set by Joseph Beuys.

Creating organic and abstract sculptures produced by the entanglements between the fabric and her body.

It was public art that caught his imagination, and starting in 1979 he began to reconsider his role as an artist by making works of functional furniture - as - sculpture (pragmatic sculpture, he called it) that were meant to be largely anonymous, invisible, and woven into the fabric of the everyday.

Towada Art Center 10th Anniversary Exhibition Solo Museum Exhibition by Do Ho Suh, World - Renowned Leader of Asian Art In Passage / s, Korean artist Do Ho Suh brings his latest fabric sculptures to the Towada Art Center, from June 2 to October 14, 2018.

Borrowing its title from Anni Albers's 1957 essay The Pliable Plane Antunes occupied the monumental exhibition space with a series of large scale works, two sculptures inspired by Anni Albers's fabric designs, others informed with Lina Bo Bardi's architectural work.

Teke, Democratic Republic of Congo Male Reliquary Figure, by the Master of the Wedge - Shaped Beard, 19th century or older Sculpture - Wood, pigments, woven canvas / fabric, «magic charge / «bilongo», patina (base by Kichizô Inagaki (11 Apr. 1876 - May 5 1951) 49 x 11 x 10,5 cm (19.29 x 4.33 x 41.34 in)

At the 1:54 Contemporary African Art Fair in New York this May, eight of the 17 participating galleries featured artists working with textiles, whether by incorporating them into sculpture, working directly with weaving or sewing, or referring to fabric patterns and forms.

Inspired by a sense of global struggle against systems of oppression and the political rhetoric of Malcolm X, Chase - Riboud produced her first bronze and fabric sculpture in tribute to the slain human rights leader.

Readers are transported through the museum's Matisse works — an array of Eastern nudes, colorful fabrics, carpets, potted plants and idyllic landscapes — plus a selection of additional paintings, sculptures and works on paper by the French master.

Hein Koh's «stuffed shiny fabric sculptures are surrealist mash - ups of body parts and symbols, comprising a diaristic lexicon inspired by memories, feelings and personal experiences.»

A sculpture by Barbara Chase - Riboud, whose bronze and fabric steles are on view at the Michael Rosenfeld Gallery in New York this fall, is divided horizontally, with a fabric skirt seeming to bear the enormous weight of a bronze torso.

Polly Apfelbaum's abstract fabric sculpture, «Split Station Stop,» hangs from the ceiling and was inspired by her stay in Rome with its abundance of Catholic - themed artworks, specifically the Stations of the Cross.

Using metal, fabric, silkscreened images and found materials, Freije makes materially rich but austere sculptures that explore surreal or exaggerated narrative situations driven by empathy.

McClain Gallery: «Disappearing Fabric: Sculpture by Jonathan Seliger,» through Oct. 21; 2242 Richmond; 713-520-9988, mcclaingallery.com.

The fourth element — the ethereal futurism, is emphasised by works of Recycle Group with their installation comprising of several polyurethane rubber cast sculptures with icons of social media, Do Ho Suh's Specimen series made of polyester fabric, Shan Hur's sculptures made of bronze and Peter Alexander's urethane sculptures underpinning the California light and space movement.

1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..

Featuring paintings and sculpture characterized by his signature use of clothing, fabric, and objects...

Featuring paintings and sculpture characterized by his signature use of clothing, fabric, and objects to give his works cultural and socio - political context, the exhibition takes its name from an invented term that means «one who embodies elements of beauty and hardship, one who has been rejected, disjointed, disfigured, and discarded after being used for his labour.»

The project combined installed environments, sculptures, and repeated movement performances by Antoni and Petronio on four floors of the Fabric Workshop and Museum.

Curated by Philip Larratt - Smith, Louise Bourgeois: Conscious and Unconscious will be on view at the QMA Gallery at Katara from 20 January — 1 June, 2012, and will feature approximately 30 works from all periods of the artist's long career, including sculptures, installations, drawings and fabric works from 1947 to 2009.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

«Miami Arts Project,» Miami, FL, January — March, 1998; brochure «I'm Still In Love With You: Visual Artists and Writers Respond to the 1972 Album by Al Green,» Women's 20th Century Club, Eagle Rock, CA, February 14 — March 14, 1998 «Postcards from Black America,» Breda, De Beyerd Museum, Breda, The Netherlands, 1998; catalogue «Núcleo Historico, XXIV Bienal de São Paulo,» curated by Paulo Herkenhoff, São Paulo, Brazil, 1998 «100 Years of Sculpture: From Pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislaine Hussenot, Paris, France, 1998 «Heart, Mind, Body, Soul,» Whitney Museum of American Art, New York, NY, 1998 «Cut on the Bias: Social Projects of the 90's,» from the Permanent Collection: The Fabric Workshop and Museum, Philadelphia, PA, 1998 «Histories (Re) Membered: Selections from the Permanent Collection of the Bronx Museum,» Paine Webber Art Gallery, New York, NY, 1998 «100 Years of Sculpture: From pedestal to Social,» Walker Art Center, Minneapolis, MN, 1998 «Exterminating Angel,» Galerie Ghislane Hussenot, Paris Miami Art Project, Miami, FL, 1998 «Hindsight: Selections from the Permanent Collection,» Whitney Museum of American Art, New York, NY, 1998 «A Portrait of Our Times: An Introduction to the Logan Collection,» San Francisco Museum of Modern Art, San Francisco, CA, 1998

Another great wall was at Mendes Wood, with two soft sculptures by Sonia Gomes hanging from the ceiling to the floor, made of fabrics woven and rolled together.

Cronin gathered hundreds of articles of women's and girls» clothing from around the world to represent three specific tragedies: brightly - colored saris symbolize two Indian girls who were kidnapped, gang - raped, and lynched from a tree at the edge of their village; hijabs signify 276 Nigerian Chibok schoolgirls who were kidnapped by the terrorist group Boko Haram in 2014 — over 200 of whom still remain missing; and gray and white aprons & uniforms symbolize those worn by «fallen women,» in forced labor at the Magdalene Asylums and Laundries in Ireland, the United Kingdom, Europe, and the U.S. Moving from the marble alters and sacred architecture of Venice's sixteenth - century Chiesa di San Gallo to the secular gallery context of FLAG, Cronin will present the same three fabric sculptures, here piled on top of their shipping crates to now address human trafficking as well as human rights issues.

His dynamic, large - scale sculptures improvise on the concept of the readymade by reusing everyday objects: job lots from pound shops, surplus fabrics and recycled goods, reflecting on their specific histories and aesthetics.

>> > SOURCES << < wall colour: Red Earth, ceiling colour: Nancy's Blushes, alcove colour: Picture Gallery Red, velvet curtains: AuDelaVintage, fabric for sheers: bettiecouture, curtain tassels: FabricsTrimsPillows, curtain hardware: Cozzy Coverings, 3 pink and purple signed and numbered prints from Montreal's St. Michel flea market, vintage radio converted into a Bluetooth speaker by my husband: Daff Design, purple vase on radio & glass owl vase on dining table & most of the vintage ceramics on buffet: Vanier Moderns, plate with semi-circle hanging on wall in alcove & bowl below it & 2 small bowls leaning against books: Le Lou Ula Atelier, plate with flower: L'Arbre et la Rivière, brass reed sculpture & brass plant stand: The Pale Blue Dot, wooden stool plant stand & purple vase on dining table: Highjinx, rug: eCarpetGallery, Hay Denmark blanket and Ferm Living orange pot: The Modern Shop, framed canvas abstract painting: Andrea @hunt.