Sentences with phrase «floor sculptures from»

Carl Andre will present «Cooper Blue Lattice,» a floor sculpture from 1990 comprised of a 65 copper and limestone tiles.

Not exact matches

Dwell Rimini Floor Lamp — Brass — Global Views Inspired by Italian design from the»60s and»70s, this floor lamp is crafted entirely of brass into a botanical sculpture, with hammered leaves that function as shades and reflect a warm, golden lFloor Lamp — Brass — Global Views Inspired by Italian design from the»60s and»70s, this floor lamp is crafted entirely of brass into a botanical sculpture, with hammered leaves that function as shades and reflect a warm, golden lfloor lamp is crafted entirely of brass into a botanical sculpture, with hammered leaves that function as shades and reflect a warm, golden light.

Once I had settled into my accommodation - two rooms in the attic floor of a terraced house not far from the West End Park - I spent a moderately distracting week strolling around the exhibits: the Fine Art and Sculpture Rooms in the Eastern Palace; the thrilling assault to the senses, both aural and nasal, in the Dynamo Shed; the Queen's Jubilee gifts (dull but, presumably, for those that need it, terribly reassuring); a reproduction of the Bishop's Palace which, upon investigation with the tip of my umbrella, revealed itself to be made entirely of painted canvas; and - my favourite, illicit haunt - Howell's tobacco kiosk with its wondrous international selection of cigarettes: Piccadilly Puffs; Shantung Silks; Dinard Dainties; Tiffy Loos!

White walls and polished concrete floors are a quiet backdrop for tufted sofas, textured wood dining stools and vibrant contemporary paintings, murals and sculptures, including a whimsical ship suspended from the ceiling.

The deep tones of the teak floors, ceilings and columns get a colorful boost from pale yellow sofas and bright accent pillows and a shot of elegance from sculptures and floral arrangements.

The tiled floor, white walls, and shadow box shelves offset the glass works of art that range in size from paperweights and jewelry to larger sculptures.

GUEST BEDROOMS: - Two king - sized bedrooms housed in stand - alone pavilions - Featuring king four - poster beds, cream coloured walls, wooden floors and soaring roofs - Front terrace lit by colonial - style bell - jar lanterns and furnished with antique daybed leading from glass sliding doors onto the bedroom - Spacious dressing rooms - Wall - mounted LCD satellite TV, DVD player and iPod dock - Air - conditioned and fan - cooled - Air - conditioned ensuite bathroom with sculptured terrazzo bathtub, double washbasins, glass doors leading to alfresco area with outdoor rain shower in a private walled courtyard - Additional single bed can be configured upon request

Featuring full - length windows, parquet floors, a library, Art Deco - style elements, contemporary paintings, and a sculpture from the Demsa collection, the living room is as welcoming as a private residence.

An immersive, experiential work of art, LOVE IS CALLING invites visitors to enter a mirrored room with tentacle - like soft sculptures hanging from the ceiling and positioned on the floor.

Sneak into this first floor working studio featuring Brent Owens's tapestry - inspired wood sculptures, Sarah Bednarek's model shop, Stephen Truax's geometric paintings, and Jess Grable's creepy chandelier made from horseshoe crabs.

The exhibition invited visitors to walk onto the sculpture to consider the work from a new perspective and experience its material contrast to the floor.

The King and the Corpse is a room - within - a-room and fills the main gallery to such an extent — from floor - to - ceiling with a walk - able, but not too capacious path around — that it's impossible to get far enough away from the sculpture to gauge its true nature as a structure.

The show proper opens with Genzken's «Ellipsoids» and «Hyperbolos» from 1976 - 82, an assortment of lacquered wood sculptures (some upright but most made to lie on the floor) begun while Genzken was still a student at the Düsseldorf Academy.

Dispersed around the ground floor area, these wooden sculptures are evocative of archaeological museum pieces reconstructing found items from prehistoric civilizations and concurrently representing aspects of community and societal configuration and structure, skill and tradition.

Other important pieces from this era, including the sagging soft sculptures Floor Burger (1962) and Soft Bathtub (1966), gave instantly recognizable items new textures and shapes.

Emerging from the floor (crawling along the cable guarding and even at the ticket desk), are thousands of unfired clay sculptures.

In addition to a series of intimate, candy - colored wall relief sculptures from the»70s, a full floor is dedicated to a new commission: a grouping of vibrant structures that appear to elegantly float across the space.

Brixton artist Lesley Hilling brings a series of floor standing and wall sculptures made from salvaged wood and found objects to Knight Webb Gallery.

Taking over one floor of the gallery, she had transformed it into a dramatized version of her own studio, with sloping, angular, plywood platforms that formed a mountainous topography, from which one could peer down onto maquettes of Lee's architectural sculptures sitting atop mirror plinths.

To, thankfully, some of the very interesting explorations in collage, 3 - D printed art, like Ashley Zelinskie's reverse abstractions (see the photograph of her table - top sculpture below) and paintings that extended from the vertical walls into the horizontal planes of the floor.

A far more effective selection was Barry Le Va's shattered - glass floor piece from 1968 — 71 that underlined Reed's debt to procedure - based sculpture.

His invariable ability to disrupt what is considered «art» is blindingly clear from the show, removing art from the vertical wall and placing it on the floor, turning painting into sculpture, and experimenting with incorporating cutting - edge technology (for the time) into his work.

The museum's second - floor galleries feature American paintings, sculptures, and works on paper from the eighteenth century to the present.

Set in Duke of York square and split over the 3 floors, Saatchi Gallery is a spacious, modern exhibition space showcasing art and sculpture from young, contemporary artists.

On view in ICA's First Floor Space from February 12 through August 17, 2014, the exhibition features sculpture, photography, and video.

Antunes's commission features hanging and floor - based sculptures made from materials including metal, leather and rope, illuminated by lights designed by the artist.

The first three galleries on the first floor feature the museum's collection of Old Master paintings and sculpture, which is particularly strong in canvases from the Italian Baroque.

Featuring 52 artists / artist collectives in total, the exhibition will occupy the whole first floor of the museum and present work ranging from painting, sculpture, installation to video and animation.

«The other exhibition spaces always take my works down in the end,» says the artist while climbing from floor to floor up to the roof of the museum, turning switches on and off, and thereby setting her kinetic sculptures into motion.

While best known for his sculptures made from metals, positioned flat on the floor and placed in symmetrical configurations, a rich and significant element of Carl Andre's practice remains largely unseen and unpublished.

To get there, you have to walk around Richard Long's Leuk Stone Circle (2000), a circular floor sculpture made of stones from the Rhône's riverbed.

At the invitation of curator (and A+C contributor) Rachel Adams, Brooklyn, N.Y. - based artist Justin Cooper has installed «an immersive sculpture made from garden hoses that snake through the domestic setting of the ground floor.

A breakthrough in her practice at this time was combining imported sand and soil — from different locations significant to her including Cuba, the Nile in Egypt, and the Red Sea — with different binding materials to create indoor floor sculptures that carried the energy of these places.

The exhibition includes a number of commissioned works, including a major new braided sculpture by Diamond Stingily that snakes through gallery floors, trailing from the Fourth Floor all the way down to the Museum's Lobby, and alludes to the racial dimensions of beauty conventions as well as to Medusa, the mythological snake - haired woman whose gaze could turn men into stone.

Although enigmatic, these works are less compelling than To - Be-Titled (2008 — 2014), a sculpture by Fitch that could have been assembled from scraps off of Paul McCarthy's studio floor.

Ranging from 8 to 72 inches high, the vertical box - like structures are placed on the gallery floor in an array that recalls graveyards as well as installations of minimalist sculpture.

Presented in its horizontal, open form, the sculpture is known as The Albino and is characterized by two impressive wings that spread out from a centralizing body that rests on the floor.

The resulting sculptures may hang from ceilings, lean against walls, or rest precariously on floors.

In Some Kind of Nature, five life - size sculptures populate the gallery, somersaulting, back - flipping, balancing, prone and unravelling, suspended from the ceiling and resting on the floor.

She takes a similar methodical approach to her dynamic sculptures, constructing a tower out of glass or aluminum bricks that, layer by layer, seem to emerge from the floor.

Kapoor's geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood - red wax sculptures from the last ten years — kinetic and self - generating — ravage their own surfaces and explode the quiet of the gallery environment.

Apart from the minimalist and decorative idiosyncrasy of the circular neon light sculptures placed on both floors, the given conceptualised context emphasising on the «mystical transformation of the self», appears somewhat thin and incoherent.

The non-hierarchical treatment of color in Donald Judd's Menziken wall sculpture (Untitled, 1988) stems from Mondrian's experimental attempts to balance primaries according to scale, while Carl Andre's shimmering floor sculptures (Copper Sum Five, 2006 and Fifth Aluminum Cardinal, 1978) remove the hierarchy of display, creating infinite points of view.

In the corner of the gallery that Hammons personally arranged sits an untitled 2004 sculpture of a rock with a fantastically fresh fade fashioned from coiled hair swept up off a barbershop floor.

The other sculpture replicates a studio floor with nature protruding in the form of a bee and dandelion — an unexpected intervention in the workspace could be a signal from the outside world.

In the Bronx Museum's first large gallery, photographs from the Bronx Floors series and one surviving sculpture — a squat, L - shaped chunk of floor whose blue linoleum is still surprisingly vibrant — occupy the center of the room, surrounded by photographs of graffiti.

From the center gallery we look into the far gallery, with views of work my me — the blue diamond — and two more sculptures, including a floor piece, by Bottwin

The first three ground - floor rooms trace Rodin's beginnings as a sculptor, from an early portrait of his pinch - faced father Jean - Baptiste Rodin (1860)-- the first sculpture he kept — to a terracotta bust of a Young Girl with Flowers on her Hat (1870), a vision as pretty as a Fragonard from his period in Belgium as an ornamental sculptor.

Anderson's work indicatively occupies the low floor, making giants of the viewer; her sculptures (like stage sets viewed from the «gods») combine arcane folk narratives, playful characterizations and linear structures sourced from video and arcade games, combined with reflections of contemporary urban malaise.

For No borders in a wok that can't be crossed, Marten has created a group of works which interweave the diversity of her work in terms of media — from sculptures to wall pieces and floor works — in a comprehensive installation including many new works created specifically for the CCS Bard exhibition.