Sentences with phrase «neon works reference»

His neon works reference over 7,000 slang terms for «vagina», a recurrent theme in his works meant to induce laughter and contemplation.

The neon works reference the sticker decals of model toy cars, radiating with an imaginative spirit and lust for speed and midnight drag racing.

Not exact matches

Creating works from synthetic materials such as resin, neon and rubber and reworking ubiquitous matter such as glass, plexiglass, wood, sand and metal, Webb often parodies modernism to wry and poetic results - referencing consumer culture and making use of the solid and the open and the soft and rigid to explore new sculptural possibilities.

The small to medium format works build upon the modern and contemporary history of neon with noted references to Bruce Nauman.

In contrast to Helen Marten's enigmatic works made of disparate elements, Mary Weatherford (b. 1963, Ojai, California) works with a sparer set of materials — paint and often neon — to create pieces that reference her experiences.

While the Los Angeles - based artist has achieved renown for his Modernist - inspired sculptures made using materials ranging from cardboard and wood to steel and concrete — and often rendered in neon colors that would fit right in at an EDM festival — painting has been a central reference point to his work ever since he left his hometown of San Antonio, Texas, to learn under the Chicago Imagists at the School of the Art Institute of Chicago.

That text - based work, both blocked and otherwise, are here to view, along with a red neon light threatening, «I Can Burn Your Face» - a reference to the phrase «to burn a face», in terms of revealing a source's identity.

The works presented — a few paintings, a neon sign, a video — are a plotting of cross references.

One of these works, 1610 (2011), was made especially for the exhibition; it transforms a sketch by Galileo of a star constellation into neon, referencing the Vatican's recent rehabilitation of the scientist.

One might see a reference to the neon works of Bruce Nauman here, but the figuration of the tree trunk is exclusively Cowardin.

As part of NEoN Digital Arts Festival, Kelly has also been invited to curate an exhibition of digital art making reference to both her own immersive landscape work and the festival theme of Media Archaeology.

His new show at Charlie James will feature works from this series, as well as neon text sculptures that reference hip - hop lyrics and L.A. vernacular signage.

His sculptural composites combine taxidermy, domestic objects, neon tubing and made elements whilst his film work draws on popular references and found scenarios such as adverts or Universal Pictures title series.

Creating works from synthetic materials such as resin, neon and rubber and reworking ubiquitous matter such as glass, plexiglass, wood, sand and metal, Webb often parodies modernism to wry and poetic results — referencing consumer culture and making use of the solid and the open and the soft and rigid to explore new sculptural possibilities.

Activism and Camouflage denote works that are overtly political — like the Gran Fury collective's famous 1987 New Museum installation «Let the Record Show...» which is re-created in the exhibition with the same pink triangle and the words «Silence = Death» in neon — and on the opposite end of the spectrum, works in which artists «bury references to AIDS or sexuality so thoroughly that they often claimed that their work had no personal or expressive meanings at all,» according to the wall text.

K4, the system of character codes that Michael Müller (b. 1970) has developed over the past 25 years is positioned beside the eponymous neon sign by Alfredo Jaar (b. 1956), executed in the artist's handwriting and thus a self - reference as a sketch to the actual work.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.

For example, from the Plexiglas circular labyrinth Bamboo Cinema (2001) to the graphite seascape Nocturnal (Neon Miniature)(2011) to the shimmering blue walls of Stacked Waters (2009) in the atrium of The Blanton Museum, Texas, Fernández references traditional artistic techniques from Baroque - era ceiling painting and conventions of landscape painting to the works of Land artist Robert Smithson and Minimalist Donald Judd.

This presentation of recent works features a selection of «Come Out» paintings, referencing the defense of the Harlem Six, a group of African American teenagers wrongfully accused of murdering a Harlem merchant in 1964; a double neon sculpture with the word «America» face down on the floor; and «Hands» (1996), a silkscreen painting composed of images from the Million Man March.

The solo exhibition represents new work in a wide range of media, including neon works that reference hip - hop culture, paintings on stucco panels, and works on found Pee - Chee folders that «memorialize victims of police brutality,» according to the show's release.