Sentences with phrase «for sculptural practice»
On the other hand, when seen as a whole, the collection provides a portrait of a specific creative legacy of the Los Angeles contemporary art scene, in this case a notable expansion of the field of possibilities for sculptural practice.
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Born César Baldaccini in 1921 in Marseille, France, César achieved recognition for a sculptural practice propelled by his ceaseless fascination with the inherent properties of materials.
The exhibition, entitled When, featured several ongoing series, showcasing Baird's use of archaeological sites and remains to source the concepts and material for his sculptural practice, including -LSB-...]
Not exact matches
For his first international show, Plastic / Paper, Palladino created a new series of works that explore his two main practices: watercolor painting on paper and 3 - dimensional sculptural reliefs.
Since the early 1990s, Paweł Althamer (b. 1967 Warsaw, Poland) has established a unique artistic practice and is admired for his expanded approach to sculptural representation and his experimental models of social collaboration.
Ifeel that both the work and my studio practice have matured and this exhibition reflects my creative and conceptual ambition, even with the sculptural difficulties it throws up for me as an artist.»
Pangolin London provides a platform for Eastwood - Bloom to show his most recent work which is at the fore - front of sculptural practice.
British sculptor Rachel Whiteread has enjoyed international acclaim for her provocative sculptural practices.
Since Katrib joined SculptureCenter's curatorial team in 2012, her program has served as a launching pad for countless artists working across sculptural practices.
«The attention to detail, historical accuracy and physical nature of Mike Nelson's sculptural practice guarantee that his new installation for the British Pavilion will be one of the most challenging solo presentations ever mounted in over 70 years of exhibitions organised by the British Council in Venice.»
Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto's renowned art - making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements.
The exhibition investigates this area of artistic practice by considering a variety of linguistic, conceptual, and sculptural approaches that artists have employed for scoring action.
The University Museum of Contemporary Art is pleased to present an exhibition of digital prints, lithographs, and mixed - media maquettes by the Brooklyn - based artist Caitlin Cherry, who is known for her hybrid practice of painting and sculptural installation.
Furthermore, this exhibition sheds light on the aesthetic universe of Carron, providing foundations for his visual and conceptual vocabulary and allowing insight into a practice that combines strategies of appropriation with sculptural bravado.
Lee Bontecou: Drawn Worlds on view at the Menil Collection through May 11th, is the first drawing retrospective for the artist who when «rediscovered» for big museum shows a decade ago was rediscovered for her meaty, muscular work: large - scale sculpture that the artist largely concentrated on between 1958 and 1967 before having a child sidelined the sculptural practice.
In addition to Burn's prolific sculptural and video work, the self - proclaimed «compulsive collaborator» co-founded W.A.G.E. (Working Artists and the Greater Economy), an important advocacy group for fair economic practices in the arts, co-founded Randy, an annual trans - feminist art magazine, and is a member of LTTR, a feminist genderqueer artist collective with an annual journal, performance series, and screenings.
Jackie Abrams has been a fiber artist for over 40 years, using and adapting well - practiced basket - making techniques to create exciting sculptural forms.
Drawing has long been an integral and vital part of Lee Bul's practice, an outlet for experimentation in ideas and forms that may eventually take shape as finished sculptural works.
The title of the exhibition suggests the themes that the artist explores, both here and in her wider sculptural practice: for example, the nature of a façade, the dualities of front and back, questions relating to the decorative, the deceitful, the theatrical, and the interplay of real and fake.
Within the architectural and programming context of Serralves, Gillick's exhibition as intervention will contribute to the Museum's aim of articulating new models for exhibition making that respond to the distinctive practices of artists in their sculptural, discursive and temporal dimensions.
With their collage of quotidian materials, their vertical orientation reminiscent of skyscrapers (albeit in miniature), and their use of a sculptural idiom, the columns are typical of Genzken's approach, for although her oeuvre is heterogeneous, architecture, sculpture, modernism, and the readymade remain touchstones of her artistic practice.
Since the mid-1960s, Graham's practice has included essays, performances, videos, installations, and architectural / sculptural designs — most famously his glass pavilions — that are variously presented and constructed in relation to a particular site as well as for the gallery.
Though Msezane is best known for her public performance practice, this new body of work presents sculptural installations that speak to the interplay of public and private domains.
As part of The Practice of Theories, artist Andy Holden will host an evening event located within his sculptural installation The Dan Cox Library for the Unfinished Concept of Thingly Time.
Through his residency at the Graham Foundation, artist Brendan Fernandes worked with the architecture and design collective Norman Kelley to develop a series of sculptural devices that serve as sites for intense, endurance - based practice.
Join us for the opening of Tom Phillips» exhibition Connected Works, showcasing his many diverse modes of practice, including painting, sculpture, text, music, photography, video, design and site specific sculptural installations.
Our integrated Public Programme consist of commissions, residencies, education and interpretation projects, which attract and inform significant audiences as well as providing artists with platforms and opportunities for debate and critique, as well as developing the discourse on contemporary sculptural practice.
It is important for the museum to continue to build on that strength and show different facets of contemporary sculptural practice,» explains the curator.
He used photography to re-examine sculptural thinking, providing a catalyst for change in his broader object - making practice.
Juror Hilary Harp, an associate professor of sculpture for ASU's School of Art, selected 19 works reflecting diverse approaches to sculptural materials and innovative art practices.
Discussing current commissions (Katrina Palmer, The Quarryman's Daughters for Art Angel); exhibitions and recent sound displays (for example, Susan Phillipzs: War Damaged Musical Instruments) the group considered current theoretical, practical and institutional issues dealing with artists working with sounds as a sculptural medium, informing the networks about current practices in contemporary art.
These works provide a basis for developing examples of contemporary sculptural practice within the museum's collection.
Working in a variety of media, including photography, performance, video, and painting, Wurm always considers his practice from a sculptural perspective, and the artist transforms these influences into a presentation of surprising and introspective objects for his second show at Lehmann Maupin.
There, it's worth mentioning Cynthia Daignault's photographic and painterly meditation on images of the Matterhorn for New York gallery Lisa Cooley; British artist Merlin James» solo show of his expanded landscape painting practice at Kerlin Gallery, Dublin; London - based Italian artist Salvatore Arancio at Rome's Federica Schiavo Gallery alongside Jay Heikes; and Jacqueline Mesmaeker's beautiful photo - sculptural installations at Nadja Vilenne, Liège.
His practice is similar in intent to that of many of the Land art and Light artists coming out of the 1960s and 1970s (Nancy Holt, Robert Irwin, Long, Robert Smithson, James Turrell), who took public space and appropriated it, transforming the environment into something novel and often sculptural This engagement with natural conditions and phenomena necessitated the dematerialisation of the art object and the extension of the «gallery» site for art.
Katrín Sigurdardóttir's drawings for sculptural projects follow the artist's practice from conception to execution.
So, even though the basis for his including fur and fat among his sculptural materials is rooted entirely in fiction, it made for a dynamic practice and lovely body of work, the multiples of which will be on view at the gallery.
As director, mirroring his sculptural practice, Beloufa works primarily as an editor, constructing scenarios that allow for chance and improvisation to circumvent a set narrative, questioning authority by eliminating his dominant role and awarding agency to actors or materials.
Many of the artists here are known for his or her work as a sculptor, and this sensibility comes through in the sculptural quality exhibited in many of these works, through either shaped and molded forms or through practices like embossing, tearing, cutting and layering.
Famed for creating sculptural objects and installations from fluorescent light fixtures, Flavin was one of the first artists to employ a systematic arrangement of color and light, and had a major influence on Conceptual artistic practices.
Active since the mid-1980s, Apfelbaum's practice is notable for her use of found materials associated with craft traditions to create sculptural objects and sprawling, floor - based installations.
Cubist ideals, for example, also affected sculptural practices, leading to flattened and fragmented depictions of objects.
Known for his pioneering use of the mobile, where suspended sculptural elements in a three - dimensional space create an ever - shifting harmony, Alexander Calder (1898 — 1976) was an artist whose practice was truly trans - Atlantic.
Al Taylor began his studio practice as a painter and although he is more widely known for the three - dimensional works he started making in 1985, the artist maintained that his constructions weren't «at all about sculptural concerns; [they come] from a flatter set of traditions.»
The gallery has nurtured some of the best emerging British talent of recent years including Idris Khan and Conrad Shawcross and younger international artists such as Christian Holstad and Maria Nepomuceno who are recognised for their innovative approaches to sculptural practice.
Though his sculptures are the material basis (and fundraising element) for this expanded practice, they can't sustain interest on sculptural terms, on formal terms, apart from that wider practice.
For many, the definition and understanding of «sculpture,» and even more so the term «sculptural,» has been expanded to the point of collapse within contemporary artistic practice while contracting within popular culture to the point of obsolescence (think no further than every bad public sculpture and memorial controversy or the trendiness of using «sculptural,» or as a comparison «architectural,» to describe everything from clothing design to cuisine).
Join 2018 Nasher Prize Laureate Theaster Gates for «Nasher Prize Dialogues: Laureate Town Hall,» an extensive conversation about his sculptural practice.
Known for transforming household objects into dynamic sculptural installations through the addition of ceramics, paint, and found materials, Hutchins» practice examines the artistic potential of the everyday.