Sentences with phrase «objects in a range of media»

Piece by Piece: Building a Collection explores a selection of more than 30 objects in a range of media by 25 national and international artists.

Not exact matches

Working in a range of media — wood, epoxy, metal, leather, and found materials — Walter Robinson hand - fabricates and assembles objects, signage and tableaux.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

Deftly working in a range of media — including photography, painting, sculpture, and video — Johnson incorporates commonplace objects from his childhood into his work in a process he describes as «hijacking the domestic.»

Born in 1978, Ana Cardoso is a Portuguese artist who works in a wide range of media including paintings, collages, objects, text and sound.

In a fascinating range of media — painting, video, found objects, weaving, and sound — Manila - based artist Gerardo Tan investigates these questions through three different projects presented in his solo exhibition Hablon Redux and Other Transcriptions at -LSB-....In a fascinating range of media — painting, video, found objects, weaving, and sound — Manila - based artist Gerardo Tan investigates these questions through three different projects presented in his solo exhibition Hablon Redux and Other Transcriptions at -LSB-....in his solo exhibition Hablon Redux and Other Transcriptions at -LSB-.....]

Over 265 objects in a diverse range of media were on view, approximately a third of which were drawn from the Pergamon Museum's famous collection, and many of which had never before left their museum collections since being accessioned.

Comprised of nearly 200 pieces in a wide range of media including sculpture, painting, photography, installation art, found objects, film, and art books, the exhibition is the first to feature this little - known artist in the US.

A certain reminisces of Minimal Art and Post Object art is notable, yet this selection, which ranges in media spanning from video, performance, sculpture, photography, painting to installations, reflects an apparent interest of the curator in conceptual and formal approaches of the artwork itself.

Engaged in a reassessment of the definition of the artwork and role of the artist, making the turn from a conceptual outlook where artistic authenticity lied in the artist's inner world towards interaction with popular media and mass - products that reflected artistic vision, his work ranges somewhere between the art and life, his pieces questioned the relation of artistic and everyday objects.

He immigrated to Paris in 1962, working in a range of media — objects, sculpture, installation, drawing and painting — and presenting numerous Happenings and performances.

Vogt uses a range of media and techniques in order to explore the mutability of images and objects.

Each appropriated piece offers it's own course in which to channel history, precipitating new stories through a range of alternative processes including wet plate collodion, silver gelatin prints, image transfers on film, collage, and 3 - D mixed media objects.

In answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguisticallIn answer to questions about an artwork's appearance they created newfangled forms, such as Donald Judd's early wall objects in 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguisticallin 1962, which were neither paintings nor sculptures; or Dan Flavin, who opted for fluorescent tubing instead of conventional painting or sculpting media; or Fred Sandback, who saw the partition of a space as a sculpture; or Michael Asher, who intervened in the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguisticallin the material conditions of the exhibition space; or indeed Lawrence Weiner, who described his works in a range of materials linguisticallin a range of materials linguistically.

The show, which demonstrates how overlooked and unneeded objects from the waste stream can inspire the City's artists and makers, features more than 20 works in a range of media found in the MFTA warehouse.

Engaging in a variety of media, ranging from Weiner's signature large - scale paintings and time - lapse videos to a series of sculptural objects, SMUSH explores a process - based narrative, adapting medium specificity for the reality television era.

In an atmosphere of conceptual risk - taking, they produced a broad range of work, from panoramic cityscapes and discrete sculptural objects to physically integrated site - specific projects and new media performance.

Ranging in scale from three inches to nearly 40 feet, the exhibit features mixed - media installations in a presentation of approximately 50 unique objects, dating from 1796 to the present, in particular with the inclusion of large works by four contemporary women artists: Kara Walker, with her panoramic wall murals, Camille Utterback via an interactive digital installation that reacts to visitors» movements and shadows, Kristi Malakoff's life - size cutouts of children dancing around a Maypole, and Kumi Yamashita's intricate, shadowy installations.

Other works range from sculpture of burnt toasts, found objects, bronze to installations in traditional media of paper, clay, glass and fabric.

By showing their work together, which ranges in media from paintings and sculpture to video, photography and ready - made objects, it is possible to appreciate the interaction and shared concerns of their work which can, in turn, be exuberantly humorous or brutally forthright.

Judith Hopf has worked in a wide range of media that includes the production of objects and installations, alongside graphic works, performances and film works, offering an absurdist and utopian exploration of artistic forms.