Sentences with phrase «glass objects into»

Watch artist Josiah McElheny and assistant Martha Friedman transform clear hand - blown glass objects into mirrored surfaces in his Brooklyn, NY studio.

Not exact matches

Google Glasses users ran into trouble time and again when those around them objected to the perceived invasion of privacy in unpredictably being on a video camera.

Nothing has ever blown my mind more (pardon the pun) then watching glass being blown and shaped into wine glasses, bowls, and other objects.

We split the shoots into different product types and we'll be showing the results on the blog over the next few weeks, along with tips for photographing different types of objects — from cards, prints and notebooks, to cushions, jewellery and glass — to help other makers pick up practical tips and learn how to get the best results for each product.

Additionally, light that passes through a transparent object such as air, water or glass can also be refracted, which means the light wave bends when it passes from one transparent substance into another.

Most robots are taught to avoid bumping into people and objects, complicating the simple task of reaching for an object in a cluttered environment, like a salt shaker on a dinner table crowded with plates and glasses.

School grounds should be inspected for potential hazards such as: • Verandah poles outside doorways, in thoroughfares or in situations where students are unlikely to see them, especially while running; • Steps and changes in level which are poorly proportioned, difficult to see or lack handrails; • Fencing, gates and railings which students climb and which have structural problems, sharp protrusions, splinters or other hazards; • Trip hazards at ground level — protruding drainage pit covers, irregular paving, cracks or tree roots in thoroughfares, broken off post or other remnants of old structures; • Loose gravely surfaces on slopes and where students run; • Slippery patches which may stay damp in winter; • Rocks which students can fall onto or throw around; • Embankments which students can slip down or which have protruding sharp objects; • Blind corners in busy areas; taps and hoses which are positioned where students play or walk; window glass at low levels through which students could fall; • Holes, cracks or exposed irrigation fixtures in ovals; • Trees or shrubs with poisonous parts, sharp spikes or thorns or branches at eye level; • Splinters and deteriorating timbers in seats, retaining edges and other wooden constructions; • sSeds or other areas with hazardous chemicals or machinery to which students have access; rubbish skips which students can climb into or around, or which place students at risk when trucks enter the school; • Areas within the site used for car parking when students are present; and, • Sporting equipment such as goal posts or basketball rings which have structural or other design or maintenance problems.

Clockwork Tales: Of Glass and Ink does a great job in disguising this steampunk adventure initially in what appears to be a standard hidden object - like story but the game quickly thrusts you into a sci - fi adventure that you'll be yearning to solve.

Now recognisable as De Monseignat's motif, these glass spheres filled with vintage fur call into question the distinction between animate and inanimate objects.

Plastic bottles and iPods are stuck into clay; potatoes grow from abstract structures; glass and body parts and pieces of cutlery fuse to form hybrid constructions such that even we, as contemporaries of these objects, lose sense of their original purpose.

In exploring the realm of editions as objects, often referred to as multiples — artists have extended their practice and subject matter into materials as varied as aluminum, lead, bronze and glass.

In works from an ongoing project she began in 2012, Skaer uses elements from her childhood home (where her father still resides) such as wooden floor boards, windows and doors and reconfigures them into boxes, cubes, or slabs, embellishing them with fine materials, replacing glass panes with lapis lazuli, and embedding objects from her father's various collections of disperate objects.

Often combining glass work with photographs, text, and other objects, McElheny converts these objects into works of art that contain multiple layers of meaning.

In the late 1950s and early 1960s he made paintings and began as soon as 1961 to incorporate glass into small objects.

An exhibition of the work of John Miller, a specialist in turning fast food and diner staples into super-sized, blown glass objects.

These objects fall into the standard range of museum merchandising: the mugs are silkscreened glass or white porcelain, bags are of untreated cotton, candles play on transparency, the umbrellas recall the glass sails, make - up bags turn inside - out.

To make this work, Kunitani blew into a glass tube, deforming it and rendering it a unique object that captured his breath.

The use of everyday materials has been a foundation of the country's art since the mid-1950s and 1960s, when artists like Lygia Clark and Hélio Oiticica transformed found objects — from cloth to metal and colored glass — into spaces for colorful expressions that appeal to both the mind and the body.

Using wire, wood, glass, sheet metal, bronze and found objects, Calder introduced biomorphic forms and Surrealist imagery into abstract sculpture.

The far end is the living area, with sofas, a television and an industrial - chic kitchen along one wall; the other half is her work studio, lined with vast Bollywood - style posters from a recent exhibition, tiles and fabrics strewn on the floor, and strange objects in glass cabinets which have, or will be, incorporated into her art.

Students will use the hot - blow - mold technique to transform objects — from the everyday to the unique — into richly textured blown glass.

The show included intricately woven canvases, handmade geometric glass objects used as paintbrushes, and Auerbach's signature ability to turn heady math into graphic beauty.

In converting 2D imagery into physical objects, she creates trompe - l'oeil sculptures, fluid in shape that lure the viewer into expecting malleable forms, when they are in fact comprised of resistant, hard - surface materials, such as blown glass.

In her newest body of work, Lou creates sculptures and reliefs that reference common objects such as ropes, book pages and fencing that when layered or made into multiples and then cloaked in brilliant glass beads evoke themes of containment, labor and repetition.

After he encounters a particularly engaging group, Nawa sources the actual object — whether a taxidermied animal or inanimate object — and encapsulatesthese into different sized cells, which are created through the use of glass beads.

After he encounters a particularly engaging group, Nawa sources the actual object — whether a taxidermied animal or inanimate object — and encapsulates these into different sized cells, which are created through the use of glass beads.

For The Harems, Kelley organized all his various collections, from the marbles and comic books of his youth to the shot glasses and spoons collected as a joke to make fun of the objects often collected by American travelers, into sixteen groups according to degrees of importance and sentimentality in his life.

She has designed slippers for a giant and made an outsized rosary for a medieval statue, and frequently smuggles her cheekier work into everyday life by combining it with existing objects — nestling a pair of glass breasts in a Chesterfield chair, tucking two more into bed, and anchoring a pale orange tent with a series of louche - looking blown - glass pitchers.

Only a name on the bottom of each glass will reveal the identity of its selector and owner and turn the everyday object into a rarified artifact.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

In 120 Days (2002) by Mexican born Damian Ortega, cola bottles have been turned into extravagant vessels by Murano glass blowers, transformed from disposable, mass - produced objects into desirable expressions of individualised craftsmanship.

Each glass vase is formed by blowing it directly into a shape cut from wood while it lays flat on a table, ensuring the disparate objects fit perfectly like puzzle pieces.

The result is that from a distance, these paintings look jazzy and vibrant, while up close you're reminded of peering into Joseph Cornell arrangements of found objects in glass - front boxes.

Instead of fashioning exquisite objects from molten glass, Sander lets the glass do what it wants, so to speak, flowing, spilling, and hardening into shapes (some clear and some colored) that look abstract but also geologic and organic.

In this work, which is wall mounted like an gargantuan floral wreath, tiny little objects such as angel figurines and silk flowers are camouflaged and completely overpowered by molten matter made up of large masses of foam and glass paint with beads, while actual bubbles are emitted into the viewer's space with the assistance of an aerator.

Many of the «sculptures» included often operated with or within more - two dimensional components — I am thinking here of Jon Kessler's Exodus (2016) and Evolution (2017), configurations far more about the transmutation of object into digital image than it is about the materiality of things; Rafa Esparaza's Figure Ground: Beyond the White Field (2017), a weighty and timely installation on labor, colonialization and identity read through adobe bricks; or Raúl de Nieves» beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end (2016), an installation of five ornate, grotesque, and vibrantly hued sculptures set against a backdrop of eighteen colorful acetate sheets made to resemble stained glass windows.

I suppose this ties into the stained glass window question, too, but it made me want to ask why you were drawn to work on vellum, how you think about the transparency / opacity of paint, and then too, the fragility of a work of art, both as a material object and a site of personal... I want to say expression, but that seems like the wrong word somehow.

Tokujin has distinguished himself in the field by transforming everyday materials — glass, plastics, fabrics, paper, even tissues — into magical objects and spaces.

Altius Space Machines is currently developing a robotic arm system it calls a «sticky boom», which can extend up to 100 meters, and uses electroadhesion to induce electrostatic charges onto any material (metal, plastics, glass, even asteroids) it comes into contact with, and then clamp onto the object because of the difference in charges.

Your phone is the magnifying glass that is allowing you to peer past your reality into a hidden experience locked (key word) to a place or object in the world around you.

I «m particularly drawn to the work of Nova Scotia artist Pamela Kinsman, whose intricate and detailed work with glass turns everyday objects into true pieces of art.