Sentences with phrase «installation work become»

Not exact matches

His work does not illustrate Bois» thought, but rather Evans uses Bois» text become components of Evans» installations.

Sometimes these works become large installations.

Rhoades took the various iconographies and key themes and adapted them to a modern day aesthetic in his theatrical installation, with the baptismal font of the painting becoming a Jacuzzi and the medium (oil paint) reconfigured through the use of motor oil in the work.

Since then, the gallery has become known for challenging lens - based and installation work, representing some of the subcontinent's most influential practitioners today.

NurtureArt's «Becoming Beast» features work from Laura Bernstein, who uses sculpture, drawings and multi-channel video installation to explore the relationship between the exemplary and freakish.

Over the past decade, Jordan Wolfson has become known for his thought - provoking works in a wide range of media, including video, sculpture, installation, photography, and performance.

Alternating between sculpture and intervention, intangible image and installation, Oh considers each of his works as a carefully composed visual poem: «The works become subtle and restrained visual poems.

The Linda Pace Foundation is pleased to present the Texas debut of Secondary Stories, a room - sized installation by Brazilian artist Rivane Neuenschwander, who has become widely regarded for her often ephemeral work that explores narratives about language, nature, social interactions and the passing of time.

The installation was comprised of hand tools to explore ideas around what «work» is, or has become, utilising work - related paraphernalia from the past.

«A selection of iconic works using light projection — photographs, films, videos, digital imagery and interactive installations from plasma screens to giant projections — will document the technological innovations that have become part of artistic creation over the past ten years.»

I make drawings, paintings, painted constructions, and installations that become the visual language that generates subsequent work.

Howard Fried is an American conceptual artist who became known in the 1970s for his pioneering work in video, performance and installation art.

Dramatic, sculptural installations that transform collected mundane materials into works examining race, poverty, consumer culture, and materiality have become synonymous with the Jamaican - born, Uptown - based Nari Ward's practice.

On January 10th, visitors to TRANSFER will see ephemera from sketches that became documentation, installations that became works on paper, and rehearsals that became sculpture that became performances; all in the course of Getting Ready.

Annabelle Selldorf, of Selldorf Architects, was recruited for the installation, a choice that becomes more evident as Stella's work grows industrial.

Woman I (1950 - 52) is given a wall, but the spot it occupies in the narrative marks the point in the show where the installation becomes confusing, loses concentration, and where large rooms turn into vast halls where even great works seem like orphans (the scale of the David Smith and Franz Kline room does these artists a disservice as the temperature drops and the corporate quality rises although the same works in another context would feel very different).

1961 British premier of Mark Rothko — the installation of his work at the Whitechapel Gallery becomes his template for all subsequent shows.

Emin's work is uninhibited in the way it absorbs and reflects her personal life - whether in seminal installations such as Everyone I Have Slept With 1963 - 1995 and My Bed, her early performances and videos such as Why I Never Became a Dancer, or her writings (which include a memoir, Strangeland, and a period as a newspaper columnist.

They have attained the status of «art world superstars,» as such figures are commonly called today, for continuing Baldessari's mission of raiding mass - produced entertainment in such a direct, unmediated way that it has become increasingly unclear what sets their photographs, collages, paintings, videos, and installations apart from the commercial products they are «appropriating,» except for the fact that their work is displayed in art galleries and museums and auction houses.

Instead, the anarchic work embraces a state of ambiguity that allows for alternative ways of processing what is seen — whether in the installation's vast changes in scale or the shifting identities of its components in which mountains become piles of raw pigment and sliced Styrofoam appears tectonic.

Joe Iurato (NY): Joe Iurato's stencil work on wood cutouts, both as installations and photographed pieces in urban landscapes, have become iconic in the world of street art.

As the initial trio gradually shared then delegated the direction of the space to new members — most recently to Caroline Soyez - Petithomme, who codirected the space with Jill Gasparina from 2008, before becoming the sole director in 2013 — the aesthetic choices have slightly shifted from an emphasis on site - specific, installation - based works to more formalist works, with an inclination towards abstract painting and digital art.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

In keeping with previous installations, visitors are invited to become a part of the work themselves by directly engaging with the projected forms.

For this exhibition, Fernandez will present 3:37 p.m. (2001), a wall installation composed of hundreds of acrylic cubes in seven colors of the light spectrum, a reductive representation of a rainbow captured at a specific moment in time, 3:37 p.m. Fernández's work is characterized by an interest in perception and the psychology of looking, so she encourages the viewer to conjure up his or her own personal associations with the landscape, which in turn become part of the meaning behind the work.

As within many of Barth's installations, her photographs become a means, rather than merely an end, to her work.

But in more recent years, light installations have increasingly become the focus, with a wealth of site - specific works attributing to a widespread sense of acclaim and popularity.

Moths damage Joseph Beuys suit in Kassel A 1976 installation by Joseph Beuys at Kassel's Neue Galerie has become infested by moths, damaging a felt suit that is an integral component of the work.

Through his gesture the work becomes an object, an installation; it takes into account the void (notably in Dadamaino), space, light, the venue and the spectator's physical experience.

For Priebe, who often uses books that have been deaccessioned from libraries as materials in her work, books become fodder for immersive installations populated by towers of tomes and swirling streams of pages that appear to defy the laws of physics.

The Spain - based artist uses humble materials like cardboard and tape to create architectonic installations, in which the construction and deconstruction of the work often becomes a performative part of the installation.

Especially capitative are the photographs of new installations in the artists studio; all built in the artists work space that over years has become an installation work - in - progress in it self.

He then invited the 210 residents to visit the installation, reclaim their property, and in so doing to meet their neighbours — themselves becoming an unwitting participant in the work's creation and an active and complicit part of its destruction.

Follow the Oakland - based artist David Wilson's progress on site - specific installations in Gallery B while becoming immersed in a series of four Friday - night performances programmed in conjunction with his work.

Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art, New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England

Andrea Lissoni, curator of the exhibition, said: «Hypothesis can be considered an experimental model for a solo show, in which different existing works are recombined for just the duration of the exhibition, becoming a temporary installation, and then getting back their individual lives and status after the show itself has ended.

Recent projects include left — right, Austro — Sino Arts Programme, Hong Studio Beijing, Übermorgenkünstler II, Heidelberger Kunstverein, Lummerland I, Toves Galleri, Kopenhagen, rhein II (sweeping into action) at NoMad, Projekt Display Frankfurter Kunstverein (2011) Lisa Meixner takes existing words and objects, and creates an enlarged etymology via associative research that becomes installations, moving image work, and sculpture.

Think of all that trendy work flying off the canvases, covering the entire wall, becoming even an installation.

The site - specific installation Displacements by Mikolaj Szoska deals with situation, where the gallery space has become the subject of the work.

Horn's installation includes several works never exhibited in Still's lifetime or since, and represents — in a manner that becomes increasingly apparent as her installation unfolds — Horn's unique visual sensibility.

In 1967, Kounellis became associated with Arte Povera, a movement theorized by curator Germano Celant as a major shift from work on flat surfaces to installations.

Steina (Steinunn Briem Bjarnadóttir Vasulka) became the first Icelandic woman artist chosen to represent the nation at the Venice Biennale, Vasulka Chamber is exhibiting her video - installation Orka (Force), the work Steina exhibited in the Icelandic pavilion in Venice in 1997.

PlayTime features three tactile interactive works, including an immersive balloon room installation by Turner Prize winner Martin Creed and participatory One Minute Sculptures by internationally renowned artist Erwin Wurm which invite visitors to become part of the exhibition by striking and holding unexpected poses with everyday objects.

These historically minded works are joined by a four - channel video installation by the young Chinese contemporary artist Sun Xun, who became known for mixing visualizations of his father's recollections of the Cultural Revolution with scenes from dioramas at the American Museum of Natural History in his surreal 2015 animation The Time Vivarium.

Their «New Sculpture» pushed beyond Minimalism and called all previous conceptions of the art form into question by employing unusual materials that had never before been used.Throughout his career, Sonnier has experimented with materials as varied as latex, satin, bamboo, found objects, satellite transmitters, and video.In 1968, the artist began working with neon, which quickly became a defining element of his work.The linear quality of neon allows Sonnier to draw in space with light and color, while the diffuseness of the light enables his work to interact on various architectural planes.Sonnier's architectural neon installations in public spaces have earned him wide acclaim in an international context.

Art installations, architectural interventions, design objects or social - oriented projects, the works by Elisasson, developed in his multidisciplinary Studio, always demonstrate a great formal sensitivity, a profound knowledge of physics and technology, a great capability to understand the spirit of place, and an exemplary interest in people, who often become part of his works as actors, instead than being passive spectators.

Projected on screens of varying scales throughout the installation, the video will become the framework for installed elements and newly commissioned sculptural works alongside a staged performance during the opening and closing of the exhibition with performers.

Other notable works in the exhibition are Swamp (1971, in collaboration with Robert Smithson), Locating # 2 (1972), Boomerang (1973, in collaboration with Richard Serra), Points of View (1974), a four - monitor installation and Revolve (1977), alongside materials from early moments of Holt's career that have been selected from the artist's archive, which has only now become available for exhibition and study.

The compact bi-level installation is a triumph and I say that not solely because I've become an admirer of Close's work ever since our first feature in 2012, but also because this exhibition feels charged with tremendous energy and reads diverse, explorative, and focused.

Beginning in 2000, the formal and conceptual rigor, minute attention to detail and rich, sensuous imagery that characterize Gehr's work in film have become the hallmarks of his recent experiments with digital media, including the multi-channel high definition digital video installation format used in Surveillance, his 2010 commission for the Madison Square Park Conservancy.