A freestanding painted installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design Conference of the same year, led to the development of Smith's renowned Kite paintings.
Not exact matches
Amanda Ross - Ho's
installations feature lengths of
painted and pierced drywall creating
freestanding partitions, stages, and sculptural niches that assert conditions of «studio and store.»
Large
freestanding paintings will simultaneously act as objects, sculpture, collage,
installation, and decoration as they are successively moved and re-installed within the exhibition space.
The
freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design Conference of the same year, led to the development of his renowned «Kite»
paintings.
The mid-career survey, Laura Owens at the Whitney Museum of American Art (November 10, 2017 — February 4, 2018), presents around 70
paintings in different sizes — from wall - mounted works, to
installations, to carefully arranged
freestanding canvases
painted on both sides.
This exhibition includes a suite of 12 oil - on - lead works titled The Newport
Paintings, five
freestanding bronze steles, six bronze reliefs, and an environmental
installation executed specifically for SFMOMA.
The exchange of movement and interplay in the
installation will be navigated through
freestanding frame - like structures fashioned into geometric patterns and abstract
paintings.
It includes Naming the Money, the largest
installation to make use of Himid's signature «cut - outs» —
paintings made on
freestanding, shaped boards that viewers can walk among.
Comfortably filling the spacious, irregular proportions of the center's main gallery, the
installation is composed of three distinct elements:
freestanding abstract sculptures; color photographs of the artist's hands (palms out and partially covered in
paint); and black - and - white videos appropriated from vintage films of competitive stone lifters (which is where the pun comes in).
Naming the Money (2004) is the largest
installation to make use of Himid's signature «cut - outs» —
paintings made on
freestanding shaped boards that viewers can walk amongst.
His exhibitions often include site - specific
installations created with tape, similar to his public interventions, which complement his
paintings and
freestanding sculptures.
This conceptual underpinning is newly experienced with this body of work, which includes a series of multi-part
installations that are composed of drawings,
paintings, and mixed - media panels as well as
freestanding steel and light sculptures.