Sentences with phrase «monumental work marks»

An exhibition of German photographer Andreas Gursky's (b. 1955) monumental work marks the reopening of Hayward Gallery, London, after a two - year refurbishment.

Not exact matches

Gravity and Grace: Monumental Works by El Anatsui at the Brooklyn Museum marks the first solo exhibition in a New York museum of Anatsui's art.

Following her monumental installation in MASS MoCA's largest gallery, Building 5, in 2007 — which marked her first indoor projection in the U.S. — Holzer returns with a campus - wide series of work that will include a large - scale outdoor projection on the River Street side of the factory's complex titled For North Adams, 21 of her celebrated carved stone benches located throughout MASS MoCA's sprawling campus, an installation of her Inflammatory Essays posters, and rotating exhibitions of her work spanning the breadth of her career.

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.

Made on a monumental scale, the paintings envelop the viewer from both their sheer size and the extensive expressive markings that make up the art work.

A monumental sculpture from the exhibition has transformed the Nasher Museum's Great Hall: a 25 - foot - tall work made of paper and other materials by Mark Bradford.

The murals, sandblasted directly onto the concrete walls of the building by the Norwegian artist Carl Nesjar, are the first in a series of monumental works in concrete realized by Picasso, and mark the beginning of a working relationship that would continue for the rest of Picasso's life.

More than thirty of Sheldon's monumental sculptures are exhibited throughout the University of Nebraska — Lincoln's City and East Campuses, including major works by Jun Kaneko, Gaston Lachaise, Jacques Lipchitz, Claes Oldenburg and Coosje van Bruggen, Richard Serra, Yinka Shonibare, and Mark di Suvero.

Working in the tradition of David Smith and Alexander Calder, Abstract sculptor Mark di Suvero builds colorful and monumental outdoor sculptures.

This exhibition marks an important departure from Khan's photographic based works and comprises a suite of large black paintings, a monumental site specific wall drawing and a series of works on paper, all of which consider the metaphysics of creativity.

All of these works provide the inspiration for Kelly's monumental sculpture installed on the façade of the Matthew Marks Gallery.

The exhibition marks the CMA debut of Song (2007), a monumental abstract work given to the museum in 2008, positioning it between Bartlett's career - defining work Rhapsody (1975 — 76) and the later Recitative (2010).

The monumental series, acquired by Dia Art Foundation in the 1970s, was meticulously restored by the artist, who installed the work at Dia Beacon in May 2008, marking its first ever exhibition in North America.

Sprawling across two gallery walls, the monumental black - and - white installation contains traces of markings typically found in Rodriguez's abstract work: solid rectangles juxtaposed against flattened transparent forms and ghosts of rectangles hovering in the distance.

The monumental work of Mark di Suvero concurrently embraces the scale of landscape, technology, and urbanism.

This monumental project explores the limits of music and marks the Chicago debut of Morton Feldman's six - hour - long work.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

«LACMA has enjoyed a long relationship with Mark, from our first purchase of his work in 2002 as part of the museum's «Art Here and Now» program to the acquisition of his monumental 2013 painting «Shoot the Coin,»» LACMA Director Michael Govan said in the announcement.

The upcoming exhibition will present the largest and the most ambitious work of Mark Ryden so far — The Parlor, a monumental 96 x 120 inch painting, set in a hand - carver wooden frame.

Featuring five monumental works, the remaining four from private collections, Frank Bowling: Map Paintings, opening February 22, 2015, will mark the first time in nearly 45 years that these works from the «Map Paintings» series will be on view since its debut at the Whitney Museum of American Art in 1971.

A single work — Henry Moore's curvaceous, monumental bronze — realized almost as much, 24.7 million pounds, an auction record for the British sculptor and the top lot of a special auction marking the company's 250th anniversary.

Other famous examples of contemporary plastic art include: the monumental steel sculptures of Mark Di Suvero (b. 1933), and Richard Serra (b. 1939), the photorealist statues of Duane Hanson (b. 1925) and the Neo-Pop works of Jeff Koons (b. 1955).

MARK BRADFORD, 2009 Mark Bradford's But You Better Not Get Old from 2003 is a monumental work of collaged permanent - wave end paper, «materials with a built - in history,» in the words of the artist, aggregated and distressed to form the ethereal yet tactile surface that has become the artist's unique signature.

One of the foremost 20th century American abstract sculptors involved in monumental works, Mark Di Suvero is known for his gigantic sculptures constructed primarily from industrial I - beams.

If Mark Rothko's monumental works of Colour Field Painting were largely unknown to the general public, almost everyone recognized Warhol's pictures of Elvis, Marilyn Monroe, and other celebrities, and related easily to Lichtenstein's 20th - century paintings with their primary colours and comic - strip imagery.

Works on view display an evolved vocabulary of abstraction that employs bold mark - making and a gestural energy and culminates in both a monumental and an intimate experience.

Featuring monumental works on paper this exceptional series, realised over a six - month period, marks an exciting new area of focus for Condo.

Internationally renowned artist Mark Bradford will present one of the largest selections of his works to date at a show titled Pickett's Charge, a monumental new commission that spans nearly 400 linear feet.

His most recent shows include Telepathic Improvisation, a multi-partnered project that marks the first US solo exhibition for the collaborative duo Pauline Boudry / Renate Lorenz, which he co-curated at CAMH with Alhena Katsof; Atlas, Plural, Monumental, a 25 - year survey of sculpture, video and photography, drawing, and interactive artwork by the inimitable Paul Ramírez Jonas; A Traveling Show, in which individual artworks and the display of a decade - old visual correspondence project between Matt Keegan and Kay Rosen spoke to a long - standing friendship and shared interests in humor and language; and THE INTERVIEW: Red, Red Future — a solo exhibition of commissioned works by the artist MPA that traveled to the Whitney Museum of American Art — in which a live performance and sculptures became vehicles through which to imagine the future of the red planet and notions of colonization.

Featuring four monumental works, the remaining three from private collections, Frank Bowling: Map Paintings, opening February 20, 2015, will mark the first time in nearly 45 years that these «Map Paintings» will be brought together since their debut at the Whitney Museum of American Art in 1971.

Famous examples of contemporary sculpture include: the large scale metal sculptures of Mark Di Suvero (b. 1933), the monumental public forms of Richard Serra (b. 1939), the hyper - realist figures of Duane Hanson (1925 - 96) and John De Andrea (b. 1941), the environmental structures of Antony Gormley (b. 1950), the fabulous realist figures of Rowan Gillespie (b. 1953), the innovative Neo-Pop works of Jeff Koons (b. 1955), and the surrealist Maman spider sculptures of Louise Bourgeois (1911 - 2010).