Sentences with phrase «historical design objects»

In this current exhibition titled, Modern Wand, Painter has created a number of sculptures that are amalgams and translations of historical design objects and furniture.

Not exact matches

However, by setting man so dramatically to his own devices, he invited his successors, step by historical step, to reinterpret the self as pure will with no proper object but the design of its own egotistic world.

While Cameron - Weir's new sculptures are informed by her study of historical objects made to protect, punish, or stand in for bodies — medieval armor or torture devices, and early - Renaissance orthopedics — they also reflect her interests in aspects of evolutionary design, such as corporal symmetry and the possibility of biological systems that harbor intelligence and self - awareness.

The uses of imagery and materials in this exhibition are wide - ranging and experimental: rhinestones, sand, matches, cowrie shells, handmade set designs, appropriated sports footage, family snapshots, found objects from the 1950s, 60s and 70s, and black contemporary and historical icons such as Harriet Tubman, Paul Robeson, Nigerian Cardinal Francis Arinze, John Coltrane and Terrell Owens.

Art - world power - hitter Todd Levin curated this sprawling ode to the city where he was born and raised, with such objects culled from Detroit institutions as historical portraits, industrial design, fashion, music, and works of contemporary art.

«The New - York Historical Society explores how shoes have transcended their utilitarian purpose to become representations of culture — coveted as objects of desire, designed with artistic consideration, and expressing complicated meanings of femininity, power, and aspiration for women and men alike.

The program is designed to offer both a theoretical and historical grounding in curatorial practices and practical experience in exhibition organization and display and object research and preservation.

Consciously employing commonly used artistic techniques, such as trompe l'oeil, action painting, graphic design, screen printing, and rudimentary drawing, Josh Reames» paintings break down hierarchies of mark - making, art historical references, computer graphics, labels, and everyday objects in a manner drawn from the non-objective «infinite scroll» of images and information we encounter in both the online and real world.

Wilson's work has been the subject of numerous solo and group exhibitions worldwide, including the critically acclaimed Mining the Museum: An Installation by Fred Wilson, sponsored by the Contemporary Museum at The Maryland Historical Society, Baltimore (1992 - 93) and Fred Wilson, Objects and Installations 1979 — 2000, a retrospective organized by the Center for Art, Design and Visual Culture at the University of Maryland, which traveled to seven venues nationally from 2001 — 4, including Andover, Berkeley, Chicago, Houston, Los Angeles, Saratoga Springs, and ending its run at the Studio Museum in Harlem.

paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects as well as some 22,000 films, videos, and media works, film stills, scripts, posters and historical documents.

Through the exploration of residual histories and objects associated with art, design and architecture, Kasper plays the conceptual storyteller presenting works as historical narrative.

By incorporating a selection of memorabilia and design objects into the works that reinterpret the Interlocking Sculptures, the project expands this notion and approximates new aspects in which the formal becomes historical, whilst the exhibition itself becomes a sort of stage linking the aesthetic to the social and political.

The installation and exhibition design for Wide White Space aim to take on the challenges inherent in presenting any show on graphic design: how to make it possible for visitors to directly engage with the materials on display; how to gather and present a breadth of historical and contemporary pieces, which take the form of both original physical objects and restaged exhibition projects; and how to speak to both peers within the design community and a broader audience.

Designed by Kimberly Varella of Content Object and published in collaboration with the Leslie - Lohman Museum of Gay and Lesbian Art, this catalogue presents work by a group of fifteen intergenerational queer artists, newly commissioned essays and interviews, and historical and archival reprints.

Through juxtaposed objects and accompanying short video essays, bold comparisons abound: the ubiquitous fanny - pack appears in its various historical renditions, from the Native American buffalo pouch made of animal hide and MTV - era nylon merchandise, to Vivienne Westwood's bum bag designed for her 1996 Louis Vuitton capsule collection.

As for the transformation part, «Circumstance» shakes up spacial expectations by morphing the museum into a maze of intersecting installations, where craft, found, utilitarian, historical design, and everyday objects sit beside works of art.

This shift in Piacentino's work, away from pure minimalism while still maintaining a commitment to blemish-less surfaces, is in line with these words from Germano Celant: «It is in this historical climate of oscillation between art and design, handcrafts and industry, the useful and the useless, the one - off piece and the mass - produced object, and between the autonomy and heteronomy of pure creation, that we can place the contribution of Piacentino, whose otherness and uniqueness lie precisely in the dialectic between the two poles, Pop and Minimal.

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.