Sentences with phrase «modernist designs on»

He uses bold, modernist designs on a huge scale to play off of pre-existing architectural features and cover spaces like walls and even entire building facades.

Not exact matches

In between, we are given snapshots of a vanished America where religion and culture still played a vital role in public life, as well as odd and unexpected little tidbits: a craze for church bell towers in the 1920s; Cram's home life with his beloved wife, Bess, and their children; the messy business breakup with Goodhue; Cram's mildly embarrassing foray into the horror genre, Black Spirits and White; his strange proposal for an island to be raised ex nihilo in Boston's Charles River; the problems inherent when working with rich Swedenborgians; and a Japanese Christian university he designed on a mix of Oriental and Dutch Modernist themes.

Rather, this group of about 45 women and a few men are set to embark on a full - blown architectural tour of London's most famous brutalist landmarks and modernist social housing estates, finishing with lunch at the Isokon building, a white concrete block designed by architect Wells Coates.

As he does, «The Little Prince» makes a remarkable stylistic leap from the accomplished but familiar CG environs of these opening scenes (big - eyed, bobble - headed humans; modernist - futurist design influences) into 2D stop - motion animation, bringing the world of Saint - Exupery's original story to life in beautiful handcrafted images based on the author's own crudely elegant watercolors (seen in the book's first printing and all subsequent editions).

Douglas Blain gets his hands on a rare alloy - bodied example in Great Leap Forward with photographs by Stefan Marjoram / In this months Auto - biography Jonathan Rishton meets Delwyn Mallett, the former art director who spent his career in the advertising industry whilst amassing an enviable collection of exotic machinery / In A beginner's guide to Rétromobile Stefan Marjoram doesn't know which way to look on his first visit to the unmissable Parisian old - car show / Scott Barrett remembers how a Riley Nine was the first light car to complete the Athens to Monte Carlo route of the famous rally, whilst Gordon McAllan shares his diary of the Classique re-run, in Monte Carlo or Bust / Ivan Margolius explains his theory of how Tatra car seating inspired an influential Modernist chair design in Cars, Furniture, Architecture / In his article Bellanger: the international car, Michael Worthington - Williams tells the story of the bull - nosed cars built in Neuilly - sur - Seine from 1912 - 1925 / In this months Sicilian snapshots, Simon Moore continues his trawl through a family album, this time sharing some pictures of the exotic road cars they owned / In the latest of his Back on the Road series, Michael Ware reports on a rare Austin 10hp van.

In both the «Gray Paintings (Loxodonta)» and the «Organ Pipes», the materiality of the objects open up to suggest a vast scope of cultural production — the elemental tin transformed into the majestic pipe organ, an achievement of pre-industrial design on par with horology; the «Gray Paintings (Loxodonta)» echoing the stone surface of prehistoric cave paintings and also the modernist tradition of the monochrome.

On Edge also includes tabletop sculpture by Anthony Caro (1924 - 2013), with the installation utilizing iconic modernist tables by designers such as Charles and Ray Eames and George Nelson generously provided by Design Within Reach.

Under the new leadership of Rodman Primack, who made his mark in London as chairman of Phillips de Pury & Company, the tented design fair translated the branding sponsorship of Perrier - Jouët, Audi, Fendi, Louis Vuitton and Swarovski into the dazzle of such over-the-top showpieces as a glittered sculpture of King Kong climbing Dubai's Burj Khalifa hotel, a monumental wood - hewn structure commissioned from Seattle architect Olson Kundig to house the cafeteria, furniture commissioned by Herman Miller from French modernist Pierre Paulin circa 1972, but realised only now, and a stream of technology - driven works involving a table whose motor sensors raised handcrafted metal flora at the viewer's approach, a clock spinning out countless time zones beforesettling on local time, and an installation by architect Jeanne Gang and photographer James Balog involving a resin iceberg, pierced with brilliants and set against an Arctic panorama.

Thirty years after graduating from the School of Art + Design, Julie presents a new series of works that reflect on how the modernist architecture of the campus and its utopian ideals influenced her artistic practice.

Kamrooz Aram, a Brooklyn - based artist whose works often challenge a modernist disdain for decoration, shares his thoughts on ornament and its complex relationship to modernist painting and exhibition design as demonstrated in his own varied practice in which painting, collage, sculpture, and the art of display operate as equals.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

Robert Orchardson's work draws on a range of sources from modernist architecture and futuristic design, including utopian manifestos, stage sets and details from science fiction films.

A study of desire and consumption, the work takes the viewer on a journey through an immaculately preserved modernist home designed and built in the late 1960's.

Throughout his career Rudolf Stingel has put pressure on the modernist resistance to decoration, even presenting a stylized floral design of a Baroque - inspired wallpaper as a freestanding abstract painting.

While Meckseper's earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

Japanese modernist architect Kenzō Tange (1913 — 2005 -RCB- was one of the most significant architects of the 20th century, combining traditional Japanese styles with modernism, and designed major buildings on five continents.

The convergence of nineteenth century and modernist design further represents status and class, an aspiration for economic growth, and the prevalence of European and American influence on Guadalajara.

Drawing on modernist architecture, Israeli Kibbutzim, the plays of Bertolt Brecht, and Constructivist set design as influences, Meromi will create a series of sculptural environments that are continually altered through off - hours «rehearsals» that will take place in the gallery.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Black Slacks, 2008, for example, upends the cool remove of modernist design by making it overtly theatrical; propped on its side without a cushion, the leather straps across hard wood of a Mies van Der Rohe Barcelona daybed give the frame the appearance of a torture device rather than a napping place.

These three artists embed forms associated with modernist architecture and design as well as Minimalism into their sculptures and works on paper.

Art In Stead, co-curated with Lisa Henry, Nizan Shaked, and Gloria Sutton, which presented 21 newly commissioned artworks on Los Angeles billboards (2010); Sympathetic Seeing: Esther McCoy and the Heart of American Modernist Architecture and Design, co-curated with Susan Morgan (2011); AV: New Works by Andrea Fraser, Vanessa Place (2014); Begin Again, Begin Again, a solo exhibition by Renée Green (2015); and Schindler Lab, co-edited with Anthony Carfello and Sara Daleiden (2015).

Projects of the last decade include: Decision Support Program, based on the animist manipulation of fragmented objects; Pomme Poire, a series of haunted performances with the musicians Franq Quengo and Erik Minkinnen; The YKFD Project with Nathalie Bles, that shifted and drifted a modular bubble house, a French modernist design icon from 1968; Charleroi Nails, a short novella which shares its title with Stephan's watermarble demo channel on youtube, which originated in the most ruined city in central Europe.

On display are new truncated assemblages composed of bronze, polished concrete, mirror acrylic and more, each suggesting the bold futurism sought by the Modernist architects» design of early and mid twentieth - century urban centers.

The artist designed the installation to capture reflections on the famous glass wall of the modernist building.

Mika Tajima employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g. speaker, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement.

Also at Newcomb are Jamaican artist Ebony G Patterson and her dazzling, vividly coloured, metamorphic, mixed media floral works on paper that suggest beaded textiles, nonagenarian Monir Farmanfarmaian, whose faceted, mirrored sculptures shape modernist geometric forms out of Persian designs, melding her Iranian heritage with that of her adopted city, New York and Andrea Fraser, with her tall mound of discarded costumes collected from Rio's Carnevale, remnants of their wearers» dreams.

With that money, she amassed one of the great collections of 20th - century modernist art, which she ultimately donated to her uncle Solomon's foundation, which maintains its New York Frank Lloyd Wright — designed museum, the Guggenheim Bilbao, an upcoming museum in Abu Dhabi, and Peggy's palazzo in Venice, which is open to the public and houses her collection in an enchanting setting on the Grand Canal.

Modernism: On and Off the Grid, curated by Niko Vicario, brings together works engaged with the legacy of Modernist architecture and design.

In a major project last winter, Hayes turned the glass - walled lobby of Lever House — the iconic Modernist office building on Park Avenue designed by Gordon Bunshaft — into a huge terrarium with a landscape of tropical trees and foliage.

Koppe went on to promote the modernist program as Head of Visual Design and Fine Arts at the Institute of Design (ID) at the Illinois Institute of Technology (IIT) and later as Professor of Art at UIC.

Photographs of the newly restored modernist villa designed by Eileen Gray, E. 1027, are featured in The Guardian This modernist villa on the Côte d'Azur, designed by Irish architect Eileen Gray, has witnessed wartime shootings, murder and vandalism by Le Corbusier.

Last fall's circa 1963 included work by artists as diverse as Josef Albers, Ben Shahn, and Yoko Ono, and illustrated the multiplicity of themes, materials, and styles that had bloomed while the aging modernist toiled on the Carpenter Center design in his Paris studio (with the help of Guillermo Jullian de la Fuente, a Chilean architect).

As well as giving a feminist reading of modernist design, Murdoch offers an incisive commentary on its materials, highlighting their sheen and transparency but also their degradation and vulnerability.

In 1996 he moved on to Californian Institute for the Arts, strongly influenced by supervisor and conceptual artist Michael Asher — where he developed an interest in how time has affected modernist design.

Opening: «Roberto Burle Marx: Brazilian Modernist» at the Jewish Museum A celebrated Brazilian landscape architect, Roberto Burle Marx is best known for his Copacabana Promenade, a stylish mosaic pavement on the Rio de Janeiro beach and the gardens of Brasília, the dynamic capital of Brazil that was planned and designed by architects Lúcio Costa and Oscar Niemeyer.

And while you listen, you watch a slow - paced, meticulously calibrated video in which, for long periods, the camera pans soothingly over ordinary domestic objects carefully arranged on a desktop of modernist design.

His early work drew on modernist iconic design pieces by Eames and Bauhaus.

This past year, the Whitney Museum reopened in a new Renzo Piano - designed museum in the Meatpacking District, moving from its smaller space on the Upper East Side, the modernist building designed by Marcel Breuer and Hamilton P. Smith from 1963 to 1966.

Designed by Stephan Braunfels and opened in 2002, the modernist building displays four separate collections: Art (in association with the National Collection of Modern and Contemporary Arts), Architecture (in association with Munich Technical University's Museum of Architecture), Design (in association with the National Museum for Design and Applied Arts (Neue Sammlung) and Works on Paper (in association with the National Collection of Works on Paper).

The Stedelijk Museum Bureau Amsterdam presents A Sign of Autumn — Vincent Vulsma a solo - exhibition on view 15 October — 27 November 2011, By employing strategies of spatio - temporal montage, Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object.

But there's also Modern art at TEFAF — Alexej von Jawlensky's colorful 1913 canvasHead of a Woman, painted in a colorful expressionistic style, was on offer for $ 3.4 million at Galerie Thomas, from Munich; Surrealist Paul Delvaux's erotic rendition of female nudes in a dreamlike setting is at Salzburg's Thomas Salis Art & Design; Piet Mondrian's landscape painting of a house surrounded by trees from 1902, before the Dutch modernist discovered his signature style of geometric abstraction, is at Düsseldorf «s Beck & Eggeling; and Impressionist painter Pierre - Auguste Renoir's enchanting 1885 canvas Au Bord de L'eau (At the Water's Edge), which beautifully captures a woman rowing a boat on a rural lake, is priced at $ 12 million at Dickinson, of London and New York.

Sitting on 77 hectares of reclaimed land along Manila Bay, the Cultural Centre was designed by the modernist architect Leandro Locsin as the nucleus of Imelda Marcos» vision for «A New Society» — the rebirth of the Philippine nation under her and Ferdinand's auspices.

Highlights from this conceptually minded show, organized by Guggenheim curator Sara Raza, include Kadar Attia's replica of a North African city that he's constructed with couscous, salt and glue to comment on French modernist architect Le Corbusier's appropriation of the region's vernacular style of design and Mariam Ghani's video installation that contrasts two modernist buildings in Afghanistan and Germany: one depicted in a state of ruin while the other is being redeveloped.

«Pippin's reputation rests on the sophisticated balance between abstract design and an evocative, simple narrative, which Sunday Morning Breakfast exemplifies in the charm of its family scene balanced by the modernist geometric order of the room,» said M. Melissa Wolfe, the museum's curator of American art.

While at Hans Sumpf, Bitters created architectural murals, tiles, bird houses, planters and sculptural objects — designs that would earn him recognition later on as a pioneer of the organic modernist craft movement.

Initially a figurative painter, he discovered abstraction in 2004 on a visit to Notre Dame du Haut, a Modernist chapel in Ronchamp, France, designed by Charles - Edouard Jeanneret - Gris, otherwise known as Le Corbusier.

The museum is honoring the brutal grandeur of architect Marcel Breuer's modernist masterpiece by reinstalling Robert Irwin's Scrim Veil — Black Rectangle — Natural Light, a site - specific piece originally designed, installed and displayed in 1977 for the Emily Fisher Landau Gallery on the 4th floor of the museum.

Literature: M. Boyd, P. Garner, et al., Sitting On The Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd More...

These large - scale «posters» — at the same time conservative, modernist artworks and knowing commentaries on the commerce of art making — enjoyed a status as rarified art objects that culled from sources as far ranging as the Bauhaus, vintage fashion magazines, travel posters, and fabric designs.