Sentences with phrase «living wall sculpture»

An Alexander Calder mobile hangs in front of the living wall sculpture terrace at the San Francisco Museum of Modern Art.

An Alexander Calder mobile hangs in front of the living wall sculpture terrace at the San Francisco Museum of Modern Art on April, 28, 2016 in San Francisco, Calif..

Not exact matches

In the corner is an impressive life - size sculpture of the figure immortalized on the shroud; on the far wall is a rare holographic rendering of the same figure.

The Wreath Recipe Book inspires readers to design an array of living sculptures to hang on your wall, door or ceiling throughout the year — or, alternatively, to use the same ingredients to make arrangements for shelves and tables.

In the living room, cool white walls, a pared - down fireplace, stone floors and low - profile white sofas are enlivened by playful sculpture, large - scale paintings and French doors opening to the cliffs outside.

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.

A final work, I Don't Know About the Ear (2016), resembling the ear of a goblin and pinned to the wall, is the relic of the performance work The Adventure of Mr. Kim and Mr. Lee (two of the most common surnames in Korea)(2010 — 12), in which a live performer wearing a prosthetic ear stood motionless like a sculpture and, like the artificial body part itself, straddled the line between states of being object and prop, human and mythical.

Trilogy includes three films made between 2004 — 2007: The Paper Wall, 2004, (won the Worldwide Short Film Festival's Best Experimental Film Award); A Life of Errors, 2006 (acquired & exhibited by the Hirshhorn Museum & Sculpture Garden); Loudly, Death Unties, 2007 (acquired by the Museum of Contemporary Canadian Art, Toronto).

(Top) In the living room, dominated by a black steel sculpture by Brian Wall and Manuel Neri's marble 1989 Odalisque 1 on the floor, are a Louise Nevelson — esque bookshelf and steel pivot door to the kitchen that Francis Mill designed with Chris French.

Recent group exhibitions include «Fifty Years of Bay Area Art: The SECA Awards» at the San Francisco Museum of Modern Art, San Francisco, CA; «Drawing the Line» at The Boston Center for the Arts, Boston, MA; «Exonome» at the Consulate General of Mexico, San Francisco, CA; «Selections from the Collection,» BAM / PFA, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; «Regarding Truth, An Exhibition of Work by Artadia Award Winners» at the California College of the Arts, San Francisco, CA; «Hair Rising» at the San Jose Institute of Contemporary Art, San Jose, CA; «2004 SECA Art Award» at the San Francisco Museum of Modern Art, San Francisco, CA; «Wall - to - Wall» at The Drawing Center, New York, NY; «In My Empire Life is Sweet» at DCKT Contemporary, New York, NY; «Next New» at the San Jose Institute of Contemporary Art, San Jose, CA; «Commission» 04» at the San Francisco Arts Commission, San Francisco, CA; «Warped Space» at CCA Wattis Institute of Contemporary Arts, San Francisco, CA; «Cream» at ArtsBenicia, Benicia, CA; «Comers... up and 2» at Jay Jay Gallery, Sacramento, CA; «M.F.A. Exhibition» at Mills College Art Museum, Oakland, CA; «Graduating Student Exhibition» at S.M.F.A., Boston, MA; «Post-Baccalaureate Class Exhibition» at S.M.F.A., Boston, MA; «S.M.F.A. Annual Juried Exhibition» at S.M.F.A., Boston, MA; «Post-Bac» at S.M.F.A., Boston, MA; «B.F.A. Honors Student Exhibition» at the Cleveland Institute of Art, Cleveland, OH; «Graduating Students Exhibition» at the Cleveland Institute of Art, Cleveland, OH; «Collective Sculpture Exhibition» at Universidad Complutense, Madrid, Spain; and «Collective Drawing Exhibition,» Leon, Spain.

Work perceived as trending that sold out the first day included pop comments on Pop (Sylvie Fleury's life - size crushed car that she painted with pink nail polish and posed against a wall caked with makeup; impeccable fabrication (Anish Kapoor's shiny discs that danced down every aisle); mannequin sculptures (Chicago imagist Karl Wirsum's robotic stick figures); body fetish (Guillaume Leblon's truncated ceramic legs and Jonathan Monk's kicking ones, Naotaka Hiro's body casts of himself made with his right hand).

The wall partially obscures the view into the gallery space, hiding a life - sized sculpture of an androgynous adolescent that is suspended from the ceiling of the main gallery room.

For instance, Nauman's 1968 video work «Wall / Floor Positions» in which the artist transformed himself into a living sculpture investigating space by moving his body in various relations to the wall and flWall / Floor Positions» in which the artist transformed himself into a living sculpture investigating space by moving his body in various relations to the wall and flwall and floor.

The large cut - out wall pieces, evocative of plant life, comprised her last solo exhibition at Tagore, which integrated some freestanding sculpture (the minor third) but excluded the more classically geometric abstractions found here.»

For her solo exhibition Blondie, Bircken developed freestanding sculptures, hanging objects and wall art from ropes, vintage clothing pieces, wood, concrete, articles used in daily life, hair and wool.

The show is titled «The Secret Lives of Spiders» and combines new ceramic works, mixed media sculptures, and wall drawings.

This wall was originally created for Alanna Heiss» Brooklyn Bridge Project; then again at St. Mark's Church in the East Village for a sculpture / performance piece called Homesteading, an Exercise in Curbside Living; and at 112 Greene Street — an alternative gallery which the artist founded in 1971 with Jeffrey Lew.

Pat and Bill Wilson Sculpture Terrace featuring Alexander Calder's «sculpture Maquette for Trois Disques (Three Disks), formerly Man» (1967) and the living wall, designed by Habitat HortSculpture Terrace featuring Alexander Calder's «sculpture Maquette for Trois Disques (Three Disks), formerly Man» (1967) and the living wall, designed by Habitat Hortsculpture Maquette for Trois Disques (Three Disks), formerly Man» (1967) and the living wall, designed by Habitat Horticulture.

Installation view of «Alexander Calder: Movement Lab», which houses a half dozen sculptures and abuts another «palate cleanser», a terrace that hosts additional Calders and the largest living wall in the United States.

In terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's mother).

Two wall sculptures, The Bird Who Lived with Lincoln (1988) and Testical Glide (1987), fuse seemingly disparate sculptural, photographic, and textural elements to create strange and beautiful poetry out of the mundane.

Strange - looking animals come to life courtesy of Korean artist Choe U-Ram, whose mechanical sculptures include a wall of what looks like gently pulsating barnacles, their movement triggered automatically.

She cast the organic shapes large - scale in milky acrylic to create two translucent, radiant sculptures — a 15 - foot - long, wall - mounted horizontal piece titled Slug and a 13 - foot - tall floor - to - ceiling piece titled Egg, each lit from within and host to a lush universe of plant life.

California - based artist Angela Schwer is the genius behind this series of wall sculptures, handmade from her living room using a custom blend of polymer clays.

In Venice, Faust features a cast of aloof, androgynous performers activating the pavilion's imposing architecture by singing, headbanging, dancing, wrestling, playing dirgeful music, climbing up walls, and perching on pedestals as living sculptures.

But others, including a James Rosenquist in the living room and a Lynda Benglis wall sculpture in the dining room, have never been installed before.

The artist's large - scale sculptures reveal the trace of the human hand and suggest her early recollections of being surrounded by wooden walls, tools, and utensils as a child living in wartime labor and refugee camps in Germany after her family was forced to leave Poland.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

Past Solo Exhibitions: Past Sculpture Present Drawing, 2016 Life Line, 2013 Past Group Exhibitions: Women On The Line, 2017 Cooperative Consciousness, 2016 A.I.R. ReFreshed, 2015 If These Walls... II, 2015 8 at A.I.R., 1995

The artist employs a wide variety of materials in her work, ranging from found objects and images to sculptures and living plants, creating interesting landscapes across walls.

And the creation of an Artist Materials Archive, a comprehensive, searchable library of some 300 pieces of artist material related to works in the collection, such as Katharina Fritsch's meticulously prepared pigments, Jay DeFeo's painting trowel, reconstructed mock - ups of Eva Hesse's rubber and resin sculptures, re-created installations by Richard Tuttle, and test samples of native Norwegian moss for a living wall by Olafur Eliasson.

Edgy works like Sutherland's Kingsford (Long), 2016, a wooden bench with UV - printed images of raging flames warning of unanticipated threats in everyday life installed on the back, and Lee's wrought - iron wall sculptures resembling tools and / or glyphs culled from a dictionary of symbols, are unexpected and engaging.

Set in a stadium - sized space, artists were invited to present existing or commissioned large - scale sculptures, paintings, installations, projections, and live performances, free of the confines of the traditional walls of art fair booths.

The wall sculpture Ndu bu Isi (in Igbo means «Life is the genesis of all things») made of burlap, dye and wire, refers to lLife is the genesis of all things») made of burlap, dye and wire, refers to lifelife.

It includes prints, collages, cut - outs, reliefs, small models of walls, hedges and other garden fragments and gloriously unnatural, life - size sculptures of trees and shrubs, cast in latex and foliated in flock.

This hypnotic installation will be carefully layered in groups that include a neon rainbow, colored gels on the windows, floating mandalas, blurred target paintings, painted windows, gradient color walls and a surreal cast of life - size, clown sculptures.

The Calder gallery opens through glass walls on two sides to outdoor sculpture terraces; the east terrace is one of the great spaces of the new building, with a gigantic living wall of local vegetation as backdrop and slitted urban views.

Against the gallery's white walls, the sculptures resemble drawings with black pen on paper that have come to life to claim a three - dimensional existence.

Group Exhibitions 2018 Official Selection, Garden State Film Festival, Asbury Park, NJ 2017 Worm's Work, curated by Mild Climate, The Finishing School, Athens GA Unloaded, Marcia Wood Gallery, Atlanta GA Official Selection, 5th Annual Short Shorts, White Space Atlanta GA Official Selection, Best Shorts Competition (Award of Recognition), La Jolla, CA Official Selection, The World's Independent Film Festival, San Francisco, CA 2016 Acts of Sedition: A Group Exhibition, White Box, NYC, NY Transitions: States of Being, Zuckerman Museum of Art, Kennesaw GA Little Things Mean A Lot, Swan Coach House Gallery, Atlanta GA 2015 Drawing Experiment, Chastain Gallery, Atlanta GA Birdwatching, Gallery Walk at Terminus, Atlanta GA 2014 Exquisite Exhibit, curated by Joey Orr, Atlanta Contemporary Art Center, Atlanta GA Score: Artists in Overtime, MOCA GA, Atlanta GA 2013 Ant Linkage, Welch Gallery, Georgia State University, Atlanta GA Drawing Inside the Perimeter, High Museum of Art, Atlanta GA 2012 Paper Moon, Clayton Gallery, Kennesaw State University Museum and Galleries, Kennesaw GA Soltem Os Bichos, Atlelie397, Sao Paulo, SP, Brazil 2011 Watching Hands: Artists Respond to Staying Healthy, David J. Spencer Museum at the CDC, Atlanta GA Something Along The Lines of Rock «N» Roll, Solomon Projects, Atlanta GA New Media from the Permanent Collection, MOCA GA, Atlanta GA 2010 Hand to Hand, AthICA, Athens GA Limitless, Agnes Scott College, Dalton Gallery, Decatur GA Everything and the Space between Everything, Agnus Scott College, McCain Library, Round Wall Gallery, Decatur GA Hand to Hand, Chaffee Art Center, Rutledge VT 2009 More Mergers and Acquisitions, Atlanta Contemporary Art Center, Atlanta GA Accessing the Artist's Brain: Drawing as Metaphor, AVA Gallery, Chattanooga TN Three Small Deaths (film screening), DiverseWorks, Houston TX Everything and the Space between Everything, Jackson - Hartsfeild Airport, Atrium Gallery Atlanta and Agnes Scott College, McCain Library, Round Wall Gallery, Decatur GA Hand to Hand, Western Kentucky University Gallery, Bowling Green KY 2008 The World's Smallest Art Fair, Anna Kustera Gallery, NYC NY Hand to Hand, Spruill Gallery, Atlanta, GA 2007 Little Things Mean A Lot, Swan Coach House Gallery, Atlanta GA Tablet: Contemporary Southern Painting, Tanner Hill Gallery, Chattanooga TN Tenth Annual Arizona State University Art Museum Short Film and Video Festival, ASU Museum of Art, Tempe, AZ Exile From The Land Of Reason, Eyedrum, Atlanta GA The Petrified Man, Welch School of Art and Design Art Gallery, Georgia State University, Atlanta GA 2006 Flamingo Sculpture Garden, Scope Art Fair, Miami FL Run For Your Lives, DiverseWorks, Houston TX Hand to Hand, Ruby Green Gallery, Nashville TN 2005 Toy, Fe Gallery, Pittsburgh PA SouthXeast: Contemporary Southeastern Art, University Galleries, Florida Atlantic University, Boca Raton FL Gas, Food, Lodging: Imagining Escape, Welch School of Art and Design Art Gallery, Ga..

Installed on the walls in scattered patterns, the «Drinking Pieces» demonstrate the artists» intention as «living sculptures» for life to make art, and art to make life.

His practice is grounded in melancholic portrayals of objects or places from everyday life, through painting, sculpture or installation such as «Space Paintings», in which he paints directly onto the walls, ceilings and floors of a room.

The exhibition highlights related themes such as the transience of life and the enigma of being through twelve sculptures and photographs, including Plank Piece I — II, 1973, in which the artist famously pinned his body to a wall with a flat timber, and the more recent life - size aluminum woman.

Letters, scraps of words, and crudely rendered figures recall graffiti scratched onto city walls, while the sculptures» torn and frayed forms speak to a fragmented field of vision, evoking the rush of life in the hardscrabble Lower East Side.

The show also included several films that contain fragmented biographies and texts from key figures in the Civil Rights Movement, floor - based abstract ceramic sculptures, and a large vinyl wall work, with a title that, as with Shiferaw and Jackson, further signals his politics, «Black Lives Matter # 3 (wall work)» (2015).

The exhibition comprises approximately twenty sculptures of polychrome wood, including freestanding life - size figures, intimate pedestal pieces, and wall pieces.

For Serralves, Daniel Steegmann Mangrané has conceived a living landscape for the Museum's central gallery in which a glass pavilion housing a garden and mimetic creatures, a set of free standing sculptures, a wall drawing, a hologram and windows that alter the experience of viewing are brought together to create a living ecosystem of transfigurations and metamorphosis, both real and symbolic.»

It was a short - lived bubble: Art soon moved off the wall entirely, into sculpture and installation, and D.C. lost what status it held to New York and Los Angeles.

He works in a variety of formats that include Paintings on canvas, wood and wall hanging sculpture called» Definism», His images portray various differences in human nature, from life's everyday dramas to humankind's quest to under - standing self.

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

Displayed on their living room walls are exactly the sorts of contemporary art trophies ambitious collectors are competing for: a huge Warhol silkscreen of a.22 - caliber pistol; a sculpture of a dollar sign in shimmering lights by the British artists Tim Noble and Sue Webster; and a John Currin painting, «The Clairvoyant,» depicting a beautiful young woman with cloudy blue eyes.