Sentences with phrase «history of public sculpture»

This 1972 project marked an ambitious moment in the history of public sculpture in Britain.

Not exact matches

That event, organized in collaboration with the U.S. Committee of the Blue Shield and the Office of the Under Secretary for History, Art, and Culture, will take place 1:00 - 5:30 p.m. September 19 in the Ring Auditorium of the Hirshhorn Museum and Sculpture Garden, in Washington, D.C. (Some public seating will be available, on a limited basis.)

For the documentary - style work titled Turbo Sculpture (2010 — 2013), Domanovic chronicles the history of a series of public monuments that sprung up across former Yugoslavia after its calamitous civil war (1991 — 2001).

, known for her large - scale sculptures and public installations that often interrogate and explore the idea of a landscape contributes a large - scale charred and disjunctive map of America, suggesting the fraught history of this deeply divided country.

2011 Video Exhibition Highlights Wadsworth Atheneum's History Wadsworth Atheneum Receives $ 21,000 From NEA to Support MATRIX Exhibition Series Wadsworth Atheneum Commemorates Civil War's 150th Anniversary in New Collection Installation Claire Beckett / MATRIX 163 Opens Nov. 3 Robin Jaffee Frank Named Chief Curator and Krieble Curator of American Painting and Sculpture Wadsworth Atheneum to Receive Significant NEH Funding Wadsworth Atheneum Presents Photography by Patti Smith Shaun Gladwell / MATRIX 162 Opens June 2 Wadsworth Atheneum's Morgan Great Hall Opens to the Public

Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

«American Art in Upstate New York: Drawings, Watercolors and Small Sculpture from Public Collections,» Albright - Knox Art Gallery, Buffalo, NY; travelled to: Memorial Art Gallery, University of Rochester, Rochester, NY; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Everson Museum of Art, Syracuse, NY; Munson - Williams - Proctor Institute, Utica, NY; Albany Institute of History and Art, Albany, NY

1974 Contemporary Religious Imagery in American Art, Ringling Museum of Art, Sarasota, FL 149th Annual Exhibition, National Academy of Design, New York, NY Art of the Pacific Northwest from the 1930s to the Present, National Collection of Fine Arts, Washington DC American Art in Upstate New York Drawings, Watercolors, and Small Sculpture from Public Collections in Albany, Buffalo, Ithaca, Rochester, Syracuse, and Utica, Memorial Art Gallery, Herbert F. Johnson Museum of Art, Everson Museum of Art, Munson - Williams - Proctor Institute, Albany Institute of History and Art, Albany, NY

Bailey has an extensive exhibition history, and his works appear in numerous public and private collections including the Hirshhorn Museum and Sculpture Garden, Washington, DC; Museum of Fine Arts, Boston, MA; Museum of Modern Art, NY; National Museum of American Art, Smithsonian Institution, Washington, DC; among many others.

In 2016, the Peggy Guggenheim Collection in Venice, Italy mounted Postwar Era: A Recent History, Homage to Claire Falkenstein and currently, the Pasadena Museum of California Art organized the traveling retrospective, Beyond Sculpture, comprised of approximately seventy - five works, including sculptures, paintings, drawings, etchings, lithographs, jewelry, and watercolors, as well as large - scale photographs of her major public commissions.

Texas Artists: Paintings, Sculpture, and Works on Paper is a joint digital collections project between Southern Methodist University's Central University Libraries» Bywaters Special Collections and Norwick Center for Digital Services; the Dallas Museum of Art; the Dallas Public Library's Texas / Dallas History & Archives Division and Fine Books Division; the Harry Ransom Center, The University of Texas at Austin; and SMU's Meadows Museum.

His paintings, prints, sculpture and installations incorporate the graphic elements of public signage and corporate logos, as well as images from art history.

His paintings, sculptures, prints, and installations subvert the graphic language of public signage and corporate logos while often referencing images from art history.

Lowe's commission is part of Nasher XChange, an ambitious citywide exhibition kicking off Oct. 19 that director Jeremy Strick says was prompted both by «the changing approaches artists were taking to public sculpture» and by the Raymond and Patsy Nasher Collection's history.

This is the first publication to describe in detail the troubled history of Richard Serra's large public sculpture, Intersection, which now stands in the Theaterplatz in Basel.

When Bontecou's sculpture emerged in a public way in 2003, the inevitably reductive ways of art history tended to describe the welded steel frames covered with recycled canvas (such as conveyor belts or mail sacks) and other found objects as sprung from the head of Zeus.

Of the latter two, which are included in the exhibition, Smoke is a study for a much larger version that was shown in the atrium of the Corcoran Museum of Art in Washington, D.C., and eventually became part of a triology of large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arOf the latter two, which are included in the exhibition, Smoke is a study for a much larger version that was shown in the atrium of the Corcoran Museum of Art in Washington, D.C., and eventually became part of a triology of large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arof the Corcoran Museum of Art in Washington, D.C., and eventually became part of a triology of large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arof Art in Washington, D.C., and eventually became part of a triology of large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arof a triology of large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arof large - scale public sculptures that included Smog (1969 - 70), and Smug (1973)-- three of the most profound and alluring works of public sculpture made in the history of twentieth century arof the most profound and alluring works of public sculpture made in the history of twentieth century arof public sculpture made in the history of twentieth century arof twentieth century art.

Along with paying tribute to the history of the Nasher Collection of displaying sculpture in public places, Nasher XChange advances the museum's exhibition program, which was expanded in 2009 to include contemporary sculpture through exhibitions featuring such artists as Ken Price, Ernesto Neto, Tony Cragg, and Jaume Plensa.

Delving into the economic and labor history of the sugar industry, the sculpture drew on matters of race, gender, power and subjugation, standard themes of Walker's practice that are familiar to her blue - chip art world audience, but not so readily understood by the general public.

The captivating scale, good humor, and humanity in King's open - air sculpture embody the spirit of public art, engaging our community's sense of place and rich cultural history.»

The profound blackness of the sculpture's exterior is reminiscent of the blackness of the figures that populate Marshall's paintings, and as is the case with so much of his work, A Monumental Journey, speaks to centuries of struggles, solidarities and triumphs, from the continental origins of the talking drum to the confrontation of history in public space today.

Ian Kirkpatrick's new public sculpture may look like a giant robotic rabbit, but it's actually a serious meditation on the history of British multiculturalism in the age of Brexit.

«The City of Los Altos has a rich history of supporting the arts, particularly public sculpture,» explains Los Altos City Manager Marcia Somers.

According to Director / CEO and Chief Curator, Terry Graff: «The generous gift of this major public sculpture from Mr. Karpman at this pivotal time in the history of the Gallery is a statement - making expression of our exhilarating trajectory — a most fitting symbol of our expansion and revitalization as an important destination for national and international contemporary art.

BRUNO DAVID GALLERY BDG Website BRUNO DAVID PROJECTS BDP Website BRUNO DAVID GALLERY STORE BDG Store COLUMBIA FOUNDATION FOR THE ARTS CFA Website GOOD ART NEWS (Gallery Blog) Good Art News ART MUSEUMS IN SAINT LOUIS Pulitzer Arts Foundation Pulitzer Arts Foundation Contemporary Art Museum St. Louis Contemporary Art Museum St. Louis (CAM) Mildred Lane Kemper Art Museum Mildred Lane Kemper Art Museum Laumeier Sculpture Park Laumeier Sculpture Park Saint Louis Art Museum (SLAM) Saint Louis Art Museum Museum of Contemporary Religious Art (MOCRA) Museum of Contemporary Religious Art Saint Louis University Museum of Art (SLUMA) Saint Louis University Museum of Art International Photograhy Museum (IPHF) International Photograhy Museum Missouri History Museum Missouri History Museum NON-PROFIT ART SPACES DUET STL DUET The Luminary The Luminary Sheldon Art Galleries Sheldon Art Galleries St. Louis Artists» Guild Artists Guild Kranzberg Arts Center Kranzberg Arts Center ART SAINT LOUIS Art St. Louis Des Lee Gallery Des Lee Gallery Gallery 210 University of Missouri Gallery 210 The Gallery at RAC Jill A. McGuire Gallery Foundry Art Centre Foundry Art Centre Public Media Commons Public Media Commons MONACO Monaco Arcade Contemporary Projects Arcade Gallery Millstone Gallery COCA Millstone Gallery FLOOD PLAIN Gallery Flood Plain ART CALENDARS - BLOGS - PUBLICATIONS Saint Louis Gallery Guide STL Guide RAC Arts (Arts Calendar) RAC Arts Calendar St. Louis Public Radio (Arts) St. Louis Public Radio St. Louis Regional Arts Commission (RAC) St. Louis Regional Arts Commission KDHX 88.1 FM (Arts Calendar) KDHX 88.1 FM PBS - Sunday Arts PBS / Sunday Arts Gallery Openings in St. Louis (Blog) Gallery Openings PBS Nine Network KETC St. Louis Riverfront Times (Arts Calendar) Riverfront Times Good Art News Good Art News Missouri Arts Council Missouri Arts Council Where Magazine Where Traveler Magazine (St. Louis) DECEMBER Magazine December TEMPORARY ART REVIEW Temporary Art Review

Given to an artist under fifty who has shown distinguished vision and achieved a substantial body of work, the award honored Dion (Season 4) for his prolific creativity and impressive production, which includes mixed - media installations, sculptures and public projects that explore the relationship between art, science and history through pseudo-scientific methods of investigation and display.

Smith has completed several collaborative public art works such as the floor design in the Great Hall of the new Denver Airport; an in - situ sculpture piece in Yerba Buena Park, San Francisco and a mile - long sidewalk history trail in West Seattle and recently, a new terrazzo floor design at the Denver Airport.

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Walker will discuss the sculpture and the history and symbolism of sugar in a discussion with Jad Abumrad, host and creator of RadioLab, at the New York Public Library on Fifth Avenue at 42nd Street.

They also make fascinating connections to the history of monumental public sculpture, to ancient Shinto concepts, to traditional ceramic techniques, and to industrial manufacturing processes.

More recently, in 2014, she created a monumental public art installation in Brooklyn's Domino Sugar Factory, a regal sugar sculpture of a sphinx with the head of a woman, which tackled the thorny, entwined histories of sugar and slavery.

If your exhibition or commission project aims to encourage new thinking about sculpture or sculpture history, or contributes to public awareness and appreciation of sculpture, you should consider applying for a Henry Moore Grant.

In October, 30 Berkeley Square's new exhibition gallery, which is bigger than the equivalent space at either Sotheby's or Christie's in London, will be hosting «A Very Short History of Contemporary Sculpture,» a show conceived by the curator Francesco Bonami that will mix loaned works with pieces that Phillips is offering either privately or for public sale.

A Bay Area native with degrees in art history from UC Berkeley and Stanford, Benezra, 54, made his high professional reputation east of the Mississippi, as assistant director for art and public programs at the Smithsonian's Hirshhorn Museum and Sculpture Garden and as deputy director and chief curator at the Art Institute of Chicago.

Coats - of - arms, public statuary, trophies, weaponry, naval warships and the costumes and regalia of state are appropriated in Locke's sculptures, wall - hangings, installations and photographs in a continued deconstruction of state power's iconicity and histories.

The monumental sculpture The Bridge, produced in homage to the civil rights hero John Lewis, stands on public land in Atlanta as evidence of Mr. Dial's ability to translate the facts of history into evocative visual metaphors.

A seminal moment in the history of sculpture, this exhibition brought the language of minimal sculpture into the public eye.

The death in January of art historian, critic and artist Coosje van Bruggen at 66 ended one of the most unique collaborations in the history of art — one in which van Bruggen and her husband, sculptor Claes Oldenburg, teamed up on dozens of iconic public sculptures for museums, parks and city centers.

Public Sculpture projects with Tuscaloosa organizations: Innovative Bike Rack Design Duo Strike Again UA Sophomores Sculpt Steel Flowers for Shelby Park UA Sculptures Break 3 - Year Auction Record for Children's of Alabama UA Art and Art History Students Create City Bike Racks

Opens June 15 May 29, 2013 Curatorial Announcement May 16, 2013 Houseguest: William E. Jones May 13, 2013 Hammer Celebrated 4th Annual K.A.M.P. (Kids» Art Museum Project) May 6, 2013 K.A.M.P. «Zine May 5, 2013 A. Quincy Jones: Building for Better Living (May 25 - September 8, 2013) April 24, 2013 Upcoming Hammer Projects: Cyprien Gaillard & Neil Beloufa April 2, 2013 4th Annual K.A.M.P. (Kids» Art Museum Project) March 27, 2013 Family Flicks & Sunday Afternoons for Kids at the Hammer March 6, 2013 Upcoming Readings at the Hammer February 25, 2013 Fritz Haeg's Domestic Integrities February 5, 2013 Hammer Museum partners with CAP UCLA to present Trisha Brown's Floor of the Forest February 4, 2013 Selections from the Grunwald Center & the Hammer Contemporary Collection January 14, 2013 Upcoming Poetry Readings at the Hammer January 9, 2013 Upcoming Hammer Projects: Enrico David, Dara Friedman, and Latifa Echakhch January 7, 2013 Tehran: An Urban History of Revolutions - Lecture by Prof. Talinn Grigor December 12, 2012 LLYN FOULKES Retrospective Opens February 3, 2013 November 28, 2012 Cage at UCLA - Sunday, December 2, 2012 November 14, 2012 Game Room opens December 1, 2012 October 29, 2012 Hammer Museum Announces Curators for Made in L.A. 2014 September 21, 2012 Your Land / My Land: Election»12 on view Sept. 30 - Nov. 18, 2012 September 20, 2012 10th Annual Gala in the Garden Honors Barbara Kruger & Cindy Sherman September 18, 2012 Free admission to the Hammer during Carmageddon II (Sept. 29 - 30) September 14, 2012 Ai Weiwei Screenings September 4, 2012 Hammer Forums This Fall August 17, 2012 Meleko Mokgosi to Receive the Mohn Award August 16, 2012 JazzPOP Courtyard Concerts in September August 15, 2012 Hammer Projects: Sun Yuan & Peng Yu July 30, 2012 Upcoming Fall Exhibitions July 18, 2012 Zarina: Paper Like Skin July 18, 2012 Graphic Design: Now in Production July 18, 2012 A Strange Magic: Gustave Moreau's Salome July 18, 2012 Hammer Projects: Lucy Raven July 16, 2012 Orchestra - in - residence wild Up July 9, 2012 Mohn Award Finalists June 28, 2012 Venice Beach Biennial June 18, 2012 Made in L.A. Music Presented by the Hammer and KCRW June 14, 2012 Made in L.A. 2012 Performances and Public Programs Guide May 23, 2012 Hammer Conversation Atom Egoyan & Serj Tankian April 22, 2012 Made in L.A. 2012 Press Kit June 2 - September 2, 2012 Made in L.A. 2012 Artist List June 2 - September 2, 2012 March Readings at the Hammer February 23, 2012 Libros Schmibros Book Club February 21, 2012 Intimate Immensity: The Susan and Larry Marx Collection February 14, 2012 Valentine's Day at the Hammer — Dirty Looks: Long Distance Love Affairs February 14, 2012 Hammer Projects Opening Soon: Antony & Alex Hubbard January 19, 2012 Pacific Standard Time Performance and Public Art Festival Events at the Hammer Museum January 26 and January 29, 2012 Alina Szapocznikow: Sculpture Undone, 1955 - 1972 February 5 - April 29, 2012 Made in L.A. 2012 November 17, 2011 Gala in the Garden September 24, 2011 Now Dig This!

Andrews» work is represented in over fifty public collections including the Art Institute of Chicago (Chicago, IL); Brooklyn Museum (Brooklyn, NY); Chrysler Museum of Art (Norfolk, VA); Detroit Institute of Arts (Detroit, MI); High Museum of Art (Atlanta, GA); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution (Washington, DC); The Metropolitan Museum of Art (New York, NY); Museum of Contemporary Art San Diego (La Jolla, CA); Museum of Fine Arts (Boston, MA); Museum of Modern Art (New York, NY); National Museum of African American History & Culture, Smithsonian Institution (Washington, DC); Pennsylvania Academy of Fine Arts (Philadelphia, PA); Smithsonian American Art Museum (Washington, DC); The Studio Museum in Harlem (New York, NY); Wadsworth Atheneum Museum of Art (Hartford, CT); and Whitney Museum of American Art (New York, NY).