Sentences with phrase «floor sculptures made»

In the lower gallery, the floor sculptures made of silicone sheets revolve around landscapes of shells and sand, merging the phenomenological material with the inner world of the imagination.

A show at the Turner Contemporary in Margate by Andre, an American sculptor who is still alive and came to the fore with his minimalist floor sculptures made from bricks that caused a furore when they were bought by the Tate Modern, years ago.

In the same exhibition, she also showed a number of floor sculptures made from alum which appeared quite formal and solid, several of them for example mimicking the steel columns of the gallery, but which will slowly change in chemical composition and break down if submitted to particular external conditions.

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.

Also created using film is a large floor sculpture made from a print of the movie Alien.

As a prelude of sorts to Nari Ward's mid-career retrospective opening at the Pérez Art Museum Miami next month, the Jamaican - born artist is exhibiting three of his «Breathing Panels»; a large - scale floor sculpture made of 702 copper - clad bricks; and Spellbound, an upright piano decorated with keys, a moody film shown on its backside.

Not exact matches

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!

Now, a new regime has turned to Hiroshi Sugimoto to fill the ground - floor lobby with a sculpture made of art furniture and a bronze gelato bar.

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.

In the mid-20th Century shared unreality that was «Caroland» it was somehow viable, with intentions that were quite probably on the right side of honest, to make a sculpture — in this case, Stainless Piece C, 1974/5 — that sat flat on the floor and rose up no more than a couple of inches, so you looked down upon it like a relief laid horizontally (I made a few like this myself); and to make it out of a few scattered (or were they artfully composed?)

Making my way to the fourth floor, I stepped out into a field of monumental sculptures by Phyllida Barlow (b. 1944, England) for her exhibition entitled siege.

The show includes rust paintings made via controlled oxidation alongside works on paper, his Lapis edition coupled with his rebar drawings, and several floor sculptures.

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.

The fourth floor of the exhibition will feature a number of large - scale works by Bayrle, including his monumental Flugzeug (Airplane)(1984), presented alongside his recent kinetic sculptures made of repurposed automobile parts repeatedly reciting the rosary, as in his much - celebrated inclusion in dOCUMENTA 13 (2012).

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

While those colors are flashing, imagine the reductive color fields of Marcia Hafif, the macro-pointillist compositions of Alma Thomas, the undulating geometries of Bridget Riley, the dyed floor sculptures of Polly Apfelbaum — and make your own list while you're at it.

They are coupled with a Carl Andre floor sculpture, a link that makes little sense except that both form grids.

The exhibition was made up of a series of sculptures across the main and first floor galleries, as well as the outdoor area on the expansive Victorian brick wall of the SLG's Fox Garden.

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

Like the minimalist artists that preceded him, Espírito Santo treats the floor as an integral element for his industrially produced sculptures, though he makes clear the distinction between his own work and minimalism.

Espírito Santo also sees these works linked to the sculptures, noting that those industrially made objects might bring to mind the factory floor or world of heavy machinery, whereas the watercolors have a domestic format and are informed by personal memories of places he has lived.

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.

This development can be seen in the floor sculptures Figure with Nganga (1984) and Untitled (1983 - 84), which show an affinity to works she made in the landscapes of places like Cuba, Iowa, and Mexico.

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.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Fred Sandback: Renowned for his Minimalist, conceptual sculptures, Fred Sandback's best - known works were made using colored acrylic yarn, like his «leaning» series, which used lengths of yarn, extended between walls and floors, to alter the perception of a space.

When on January 28, 2013, I made my first visit to Annette Lemieux's spacious studio in Allston, Massachusetts, I was delighted and excited to see a museum - quality array of over a dozen paintings, sculptures, and photographic prints arranged on the walls, floor, and propped up on a variety of chairs and stools.

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.

On the ground floor of the Snøhetta - designed expansion, visitors and passersby will find Richard Serra's monumental sculpture Sequence (2006) in the free - to - visit, glass - walled Roberts Family Gallery, made possible by Linnea and George Roberts, where Roman steps will provide an inviting space to reflect and gather.

In this exhibition, large - scale floor sculptures and wall - mounted works made over the course of four decades attest to the seemingly infinite variations of shape and color that Chamberlain explored throughout his career.

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.

Crowner's studio practice includes ceramics, sculptures, theater curtains, tile floors, and paintings made by sewing together painted and raw panels of canvas.

A number of hanging and floor - based sculptures made from materials including metal, leather and rope fill the space, illuminated by lights designed by the artist.

The sculptures are made of expanding polyurethane foam that Deshayes mixes and pours on his studio floor to create amorphous organic shapes.

The show — Monroe's second solo show in Berlin — consists of constructed images and sculptures made over the last year and a site - specific floor piece.

In another room, a hanging sculpture made of polished stainless steel, «Monument to the F Word X», is presented above a mirrored floor.

The artist made this specifically for this space at the Whitney — she wanted to create a sculpture that would pour from the ceiling, hit the floor, and seem like it was alive.

Scattered around were a number of wall and floor pieces — the well - known automobile parts crammed and jammed into muscular, abstract conglomerates, lacquered metal shards, a big twisted urethane foam work from 1966, and a room filled with the newer collapsed galvanized zinc sculptures made from

It brought to mind Carl Andre's floor sculptures, and, pillow forts, serious art making with a playful vibe.

«The Broken Jug: A Comedy [D3](left handed version)» (2007), a sculpture made from sheets of marine plywood and pine, is like Bauhaus paper cutting exercises made large and pulled up into space from the floor, rather than from a table top.

In terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's mother).

Carl Andre (b1935) became a leading artist in the emergence of Minimalism in the United States in the mid-60s, making sculptures out of ordinary industrial materials — wood, bricks and metals — arranged on the floor in simple linear or grid - like patterns.

The room - sized endeavor features a springy floor made of cork and brass, and large leathery textiles and rope sculptures suspended from the ceiling, lit only by custom floor lamps.

Others work in sculpture, often fashioning their works from materials that belie the pedestrian nature of the subject - Ai Weiwei's jar of hundreds of sunflower seeds, made from hand - painted cast porcelain, or the work of Yoshihiro Suda, who creates weeds that «grow» from the gallery floor, carved by hand from magnolia wood.

Two giant lightbulb sculptures made of charcoal and chalk, respectively, lie on the dark grey floor, which bears the whirled traces of Rhode's dragging and pulling of their opaque forms.

For example his sculpture GP06 (2013) stands on the floor, smoked glass rises up out of foundations made from breeze blocks.

Opening and closing Pousttchi's exhibition on the Kunsthalle's ground floor are two installations of sculptural works that make use of crowd - control barriers, those sculptures of public infrastructure designed to manage cheering crowds, parades, or demonstrations.

When making poured urethane sculptures like «CDCR», Ruby lays down pieces of cardboard to protect the studio floor.

One outstanding example consists of four works from the late 1970s through the early 1990s: Yarn hangs loosely from the ceiling in overlapping half ovals (The Nearest Air, 1991) while two works, both titled Sculpture for Nontransparent Materials (1985) and made of solid wood and marble hemispheres sit closely on the floor, facing each other.

conceived in 1919 and considered the first abstract sculpture made in the German - speaking world, stands alone in its own space on the third floor