Sentences with phrase «facsimile objects»

These editions are referred to by the artist as «facsimile objects»; although they proceed from the» Flow» paintings, this series is distinct from the originals in a number of ways.

The purpose of this collaboration is to produce high - quality facsimile objects and reproductions of Richter's art.

This print mounted on aluminum is part of the artist's P series, which the artist describes as «facsimile objects» that are offshoots of his Flow paintings, which were created by capturing poured enamel paints on a glass surface.

The Heni editions are referred to by the artist as «facsimile objects»; although they proceed from the Flow paintings, this series is distinct from the originals in a number of ways.

Diasec mounted chromogenic print on aluminum 14.57 x 19.69 inches 37 x 50 cm Edition of 500 Numbered in felt - tip pen Printed on the verso: «A facsimile object of Gerhard Richter ALADIN Catalogue Raisonne 915 - 8, 2010, 50 x 40 cm, lacquer behind glass Edition size 500, each numbered.

Diasec mounted chromogenic print on aluminum 19.69 x 15.75 inches 50 x 40 cm Edition of 500 Numbered in felt - tip pen Printed on the verso: «A facsimile object of Gerhard Richter BAGDAD Catalogue Raisonne 914 - 2, 2010, 50 x 40 cm, lacquer behind glass Edition size 500, each numbered.

Not exact matches

How are the status and meaning of an artwork — whether an Ancient Greek statue, a digital photograph, or a painting by an itinerant portraitist — altered through the creation of facsimiles, through exhibition, or through the conversion of the object into image or code?

Featuring detailed replicas of nearly 100 objects from The Met collection, The Theater of Disappearance encompasses thousands of years of artistic production over several continents and cultures, and fuses them with facsimiles of contemporary human figures as well as furniture, animals, cutlery, and food.

Spencer Finch's continuous - line drawings of vulture flight patterns, like Trubkovich's work, reflect on the limits of visual perception and the fallibility of recollection, while Adam McEwen's machined graphite facsimiles of ordinary objects underscore the schism between memory and reality.

Driven by early training in printmaking, Smith challenges the romantic mythology of the artist by creating mixed - media compositions that combine the handmade with manufactured and found objects to examine the value of originality versus facsimile.

He first considered making copies or facsimiles after remembering how in Peru, copies of museum objects travelled the country as educational tools when the real objects existed elsewhere in the world.

The Belgian artist Koenraad Dedobbeleer and the American Paul Sietsema contribute facsimiles of functional objects (a broom by Mr. Sietsema, a disposable cup by Mr. Dedobbeleer).

By starting with copies, by creating copies of copies, and by documenting the copying process, Clough creates work that is both the real thing and its facsimile, and in doing so questions the authority of the original object and the presence of the artist's hand in its making.

Other contents include a contribution from Philadelphia's Headlong Dance Theater, which relates the process behind the company's highly regarded Cell piece from 2006; facsimile reproductions of 1960s letters from the artist James Lee Byars to MoMA curator Dorothy Miller (the second installment of the Modern Artifacts series, presented in collaboration with The Museum of Modern Art Archives); two more «Guarded Opinions» from guards at the Hammer Museum in Los Angeles — this time offering commentary on paintings by Degas and Gustave Moreau; an anonymous confessional piece about the life of a «decor artist»; a selection of never - before - published map sketches by Michigan artist Neil Greenberg; Angus Trumble's «2001 in Retrospect»; and a found object contributed by Stephen Weyl.