Sentences with phrase «latex wall piece»

Stretching across the entire back wall of the gallery is Wilke's large - scale multiple latex wall piece Ponde - r - rosa 3: Double Sun (triangle), Blue Champagne (square), Broken Blossoms (circle)(1975).

The body, in most instances her own, became her primary subject matter and the springboard for ceramic sculptures, latex wall pieces, chewing gum sculptures, and numerous performances, photographs, films and two dimensional works.

Not exact matches

In another, harder push, pigment is suspended in cast - polyester resin in a wall piece by Richard Van Buren and in latex in a bright, rubbery floor piece by Lynda Benglis.

In the smaller room, Lynda Benglis presents new works in ceramic alongside early floor pieces of brightly pigmented poured latex and a selection of wall pieces in wax.

The pieces are often staggering in scale and sensually arresting, frequently employing food and drink as media: one ton of ribs with honey dripping on them from the ceiling; 2,000 hard - boiled eggs with a pile of latex gloves nearby to pick them up; 1,521 doughnuts hanging on a free - standing wall; a room - sized cell padded with 1,800 cones of pink cotton candy.

These works include her richly layered wax paintings and poured latex and polyurethane foam sculptures of the late 1960s and early»70s; innovative videos, installations, and «knots» from the 1970s; metalized, pleated wall pieces of the 1980s and»90s; and pieces in a variety of other mediums, such as glass, ceramics, photography, or cast polyurethane, as in the case of the monumental The Graces (2003 — 05).

Wilke's large hanging wall sculpture Ponde - r - rosa 3: Double Sun (triangle), Blue Champagne (square), Broken Blossoms (circle) is a major fifteen - part work consisting of circular latex pieces in soft yellows, pinks and greens.

When his pieces were initially exhibited by Castelli Gallery in the 1960s, Sonnier set a precedent for abandoning the rules of traditional sculpture, forgoing the pedestal to create wall - based works and trading traditional media such as bronze and marble for unconventional and psychologically loaded materials, such as cloth and latex.

Commonly cited examples, which are repeated in the catalog, include, among others, Lynda Benglis» pouring of pigmented latex directly on a floor, on which it hardened; Richard Serra's works in which he cast molten lead into the corner where floor met wall (one of which has been reproduced at SFMOMA); Robert Smithson's pouring of viscous asphalt down a hillside outside Rome; and Eva Hesse's «Rope Piece,» in which lengths of rope were let to hang loosely in a space in three - dimensional mimicry of the skeins of pigment in Pollock's drip paintings.

Among highlights here are two renowned late monumental works by Eva Hesse: the latex and canvas floor work «Augment» and the four - part wall piece «Aught», both created in 1968.

For the exhibition, Benglis will show one of her early floor pieces composed of brightly pigmented poured latex, as well as new works and a selection of earlier wall works.

Avantika Bawa's «(un) fragmented spaces» (2005) is comprised of hybrid objects built mostly with irregularly shaped pieces of cardboard and Styrofoam (but also graphite and latex); mounted on the wall, they frame a door jamb in the gallery and meet at the convex right angle where two walls meet.