Sentences with phrase «in handmade objects»

The designs retain the beauty of the little imperfections found in handmade objects.

Huge spring and fall crafts fairs, along with smaller ones during the year, offer the finest in handmade objects.

Not exact matches

If you're interested in selling your handmade work at craft fairs and events, check out these helpful resources from Sarah Neuberger of The Small Object.

Our handmade and leather jewelry boxes are objects of beauty in their own right, capturing loose items in one pretty place.

I guess the museum bug bit me hard because I am a curator of intriguing home decor: antiques, handmade items, heirlooms (like my grandma's dishes and lamps), reclaimed objects (my dad made our bench from wood found at my great grandpa's farm, in his storm cellar), and family photos.

When we think of craft, we tend to think of expensive handmade objects, often considered anachronisms in a world of mass production and mass consumption.

Although I trade in ephemera often (paper goods with a short lifespan) and that's reminiscent of transient digital media, I do believe there's something special about a handmade object.

The artist employs a constellation of everyday materials in her work, ranging from found objects and photographs to handmade sculptures and living plants, creating encyclopedic and accumulative landscapes that penetrate walls and stretch across museums.

Her brilliant stroke was to marry the handmade and the mechanical in photographs of architecturally - inspired mirrored objects built in her studio.

Helen Marten, also exhibiting in this year's Turner prize, creates intense, playful and highly detailed sculptures and installations that mix the readymade with the handmade, exploring how we build and use relationships with objects.

Richard Marshall enthused that «The effect was raw, askew, handmade — a primitive - looking object that recalled African shields, Polynesian navigation devices, Spanish devotional objects, and bones that have broken through the surface skin» (R. Marshall, «Repelling Ghosts», in Jean - Michel Basquiat, exh.

Extraordinary examples of handmade stone tools, some of the first aesthetically - conceived objects known to humankind, will be included in the exhibition First Sculpture: Handaxe to Figure Stone which opens Jan. 27 at the Nasher Sculpture Center.

And while it has been popular of late to display actual handmade African - American quilts, such as the ones exhibited in upscale New York galleries, Huckaby's act of repainting quilts disarms them as fetishized aesthetic objects while folding their weighted cultural meaning into the history of painting.

The result is an engrossing study in contrasts, a grouping of objects that are simultaneously organic and synthetic, handmade and manufactured, spontaneous and calculated.

Søren Hüttel's installations combine neon color, various light fixtures, abstract sculptural elements, found and handmade objects, and mass - produced items in arrangements that suggest cultural, domestic and commercial interior spaces simultaneously.

This deliberate display of the «history» of each gun emphasizes the handmade quality of the piece in contrast to the sleek perfection of the mass - produced objects to which we have become accustomed.

Using a range of materials, from found and handmade objects to plants and naturally occurring reactions, the works are brought together and move in the direction of a perhaps fictional, or not - yet - tapped, «third nature,» providing a «new take on the ways that natural materials can be considered and reconstructed for an audience.»

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.

In very different ways Michael Dean, Anthea Hamilton, Helen Marten and Josephine Pryde all create situations and tell stories, via sculpture, photographs and other kinds of images, manufactured objects, the found, the handmade and the borrowed.

A fossilized dinosaur egg, leather gloves, two copies of Djuna Barnes» «The Book of Repulsive Women», and a handmade olive tree are but a few of the objects that appear in «The Selected Gifts (1974 — 2015)» — the majority of which are reproduced at actual size.

Dematerialization proved to be a useful myth: useful in that the term was convenient shorthand for the decline of the conventional art object (a painting or sculpture handmade by the artist - author); a myth in that so much advanced work of the period yielded a decidedly material proliferation of paperwork — handwritten or typed texts, contracts of ownership and certificates of authenticity, photographic documentation, inventories, and working drawings.

Related articles look at conceptual art versus the art object, conceptual art versus the handmade, and conceptual arts in the plural.

Canada (New York, main) returns to the fair with another immersive interior, curated by the New York - based artist Marc Hundley to mirror the artist's actual home at 220 Roebling in Brooklyn, including objects and artworks hung salon - style amidst handmade furniture, books and records.

More than 300 of Schonbeck's inventive handmade instruments — a nine - foot banjo, a drum made from airplane fuselage, a chime rack from castoff objects — now reside in Building 6 and can be played by visitors.

MUCH OF LONDON - BASED SCULPTOR Daniel Silver's work occupies an in - between state — between complete and incomplete, between handmade and mass - produced, between artistic object and castoff.

The subjects of her films and videos reveal their close physical connections to their environments, sites marked by legacies of colonial trade and military occupation in the artist's homeland of Puerto Rico, by recounting stories and engaging natural materials as well as inherited or handmade objects.

Chronologically, this exploration begins with Marcel Duchamp, whose invention of the readymade in 1913 gave birth to the separation of found or handmade objects from the more limited world of sculpture, usually confined to plaster, bronze, marble and occasionally carved wood that had previously represented, exclusively, in the realm of the third dimension in art.It continues through Arp, Man Ray (with an assortment of works from his New York, Paris and California periods), Dalí (represented by two works of major importance: Objet escatalogique de fonctionnement symbolique (Le soulier de Gala) and Vénus de Milo aux Tiroirs)

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

Alexandra Bircken is an artist who has attracted interest for her sculptures and installations that combine knitted elements with organic and lowly materials such as hair, leather, dried grass, latex and twigs, creating amulet - like objects with an arts and crafts aesthetic that reflect her background in fashion design and an interest in the radical aspects of handmade culture.

In this new exhibition, Peet continues his «Stilifes» series, mixing his handmade ceramics of handheld devices with found objects to create quirky assemblages that are ripe with meaning.

Those lamenting the disappearance of the Polaroid camera and relishing the banjo's reappearance have something in common with Kiel Johnson: a love for the sounds and objects of a bygone era, and nostalgic affections for the handmade.

Myrton Purkiss» handmade tableware from 1948 defies the idea that useful objects should be made in multiple.

«In an age of mass production, it is easy to forget the joy and beauty of handmade objects.

Samare produces its own portfolio of objects entirely handmade in Canada based on contemporary reinterpretations of indigenous crafts.

Applying strategies of mass production to handmade objects, McCollum has spent nearly fifty years exploring how works of art achieve personal and public meaning in a world largely constituted within the manners of industrial production.

A third section is made up of objects lent by East Harlem residents who were invited by the museum to display things they treasure in their homes, including vintage political posters, a Cotton Club cocktail shaker and a detailed handmade model of a tropical bungalow.

RD: Everyday objects, handmade items and craft have been themes in my work for several years.

Dematerialization proved to be a useful myth: useful in that the term was convenient shorthand for the decline of the conventional art object (a painting or sculpture handmade by the artist - author); a myth in that so much advanced work of the period yielded a decidedly material proliferation of paperwork — handwritten or typed texts, contracts of ownership and certificates of authenticity, photographic

Driven by early training in printmaking, Smith challenges the romantic mythology of the artist by creating mixed - media compositions that combine the handmade with manufactured and found objects to examine the value of originality versus facsimile.

However, Maygarden's new body of work responds to the immersion of the digital experience and the consequential shift in how one perceives and experiences images; unique, handmade objects have been replaced by digital images that are ever accessible, infinitely replicated, intangible and disposable.

And several artists are combining mechanical processes, like 3 - D printing, with handmade work, like carved or sculpted objects, in a way that blurs the boundary between simulation and original.

Utilizing the handmade as a way to take in and process life's experience, PEET views his object making as a means to translate energy from himself to others.

Middlebrook's general store features handmade and salvaged objects available through barter in an alternative economy chosen by both the clerk and the visitor.

The foundation of this handmade aesthetic, however, lies in the rigor and fastidiousness with which the artist and his high - functioning studio construct both the objects themselves and the conceptual and intellectual benchmarks that guide Sachs's life and practice.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

As a faceted installation, DOMESTICITY serves as a counterpoint to an increasingly digitalized way of life, in which one becomes increasingly removed from actual handmade objects.

That said, there is a broad emphasis on materiality for its own sake: on handmade objects, maybe in response to a digital overload of virtual imagery.

Spreading across wooden panels in the style of wallpaper, these enlarged images are overlaid by sculptural objects, including a monstrous rubbery bat and a salamander, akin to the handmade props and costumes that populate Chetwynd's performances.

Born in Los Angeles in 1944, McCollum applies strategies of mass production to handmade objects — such intricate labor raises questions about the role of the artist and the intrinsic value of the work of art.

The placement of these objects in the installation instigates questions around the exclusion of craft and the handmade from fine art discourses.