Sentences with phrase «of sculptural practices»

The artists invited to participate in Nasher XChange — Lara Almarcegui, Good / Bad Art Collective, Rachel Harrison, Alfredo Jaar, Liz Larner, Charles Long, Rick Lowe, Vicki Meek, Ruben Ochoa, and Ugo Rondinone — represent a range of sculptural practices in contemporary sculpture locally, nationally, and internationally.

Responding to notions of public space and the conventions of sculptural practices, applicants will be challenged to create an innovative and engaging proposal within an open critical framework.

The Met Breuer will present «Like Life: Sculpture, Color, and the Body (1300 - Now),» showcasing 700 years of sculptural practice.

Seven hundred years of sculptural practice — from fourteenth - century Europe to the global present — are examined anew in this groundbreaking exhibition.

His drawings are explorations in their own right, integral to the overall concerns of his sculptural practice, and unique intuitive explorations within their own established criteria.

Pangolin London provides a platform for Eastwood - Bloom to show his most recent work which is at the fore - front of sculptural practice.

The exhibition, which contains around 120 works, examines seven hundred years of sculptural practice; from fourteenth - century Europe to the global present.

The Irreverent Object examines the subversive nature of sculptural practice employed by European artists from the 1960s through the 1980s.

The legacy of Last Ladder was the emergence of a sculptural practice far more focused on the ability of material itself to convey meaning and message to the viewer, and the highly streamlined and minimalist approach to form evident in Andre's later work.

On view at The Met Breuer now seven hundred years of sculptural practice — from 14th - century Europe to the global present — examined anew in the groundbreaking exhibition Like Life: Sculpture, Color, and the Body (1300 — Now).

Characterized by reductive, geometric forms fabricated in raw industrial materials like Corten steel and aluminum, its ideal products represent an exploration of the essential nature of sculptural practice and experience, engaging viewers in a carefully organized phenomenology of volume, weight, mass and theatricalized viewing space.

His essay «Specific Objects, first published in the summer of 1965, constitutes a radical redefinition of sculptural practice, and remains central to the analysis of the new art developed in the early / mid - 1960 s.

Together, this collection comprises a snapshot of an important moment in the extensive legacy of the Los Angeles contemporary art scene, which has seen significant expansion in the possibilities of sculptural practice.

[1] It is therefore not much of a surprise that the solemn presence of her sculptural practice vastly rests on the simplicity and bareness of the materials of which the objects are made out of.

«Examining the past 8 years of sculptural practice, this show draws on the key moments from 3 solo shows and countless group shows while introducing new works,» says Bergeron.

The late Colombian conceptual artist Miguel Ángel Cárdenas moved to Holland in 1962, became Michel Cardena, and immediately started to shed his deep - seated image of the body as shameful and indecent in favour of a sculptural practice that incorporated the use of genetilia, tubes, zippers, spongy materials and bold colours.

Not exact matches

Nonetheless, her oeuvre played a critical role in heralding the advent of Minimalism, influencing, among others, Eva Hesse's sculptural practice and Sol LeWitt's wall drawings.

Instead, Kunitz finds this exhibition to not only shed light on Gehry's mental processes and working practices, but also to enhance viewer's understanding of Gehry as a sculptural architect.

The overview of her image - based sculptural practice includes works from 1989 to the present, including Vanity Mirror III (Edwardian) from 1989, pictured here.

Future Eaters presents a range of contemporary Australian and international artists working with sculptural practices in our present technological age.

The use of photography in his sculptural practice has naturally led to the inclusion of video.

Many of the artists share Deschenes» interest in architecture and the sculptural potential of photography — either creating an image of three - dimensional space, such as the work of Kalpakjian, or with the incorporation of sculpture into their practice, as in the works of both Tonsfeldt and VanDerBeek.

Future Eaters presents a range of Australian and international artists working with sculptural practices in the technological age.

The second nests these ideas about abstraction and the sculptural in an emphatically feminist argument, one that asserts that the production, display, and reception of such art has been shaped by the personhood of the artists who tended to practice it, and by the sexist social and institutional conditions those individuals faced under modernism.

This informal conversation between London - based artist Francis Upritchard and German - born jeweller Karl Fritsch will explore the artist's unique sculptural language and the multiplicity of artisan and craft traditions Upritchard has incorporated into her practice, including collaborations with UK fashion house Peter Pilotto, Karl Fritsch and Italian designer Martino Gamper.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

One of the key influences on her sculptural practice was the experience of taking dance classes with choreographer and dancer Merce Cunningham.

Thursday, Sept. 11, 2014 @ 7 — 9 p.m. KEVIN BEASLEY in Conversation at Studio Museum in Harlem New York Artist - in - Residence Kevin Beasley, whose works include sculptural installations made with found materials, discusses the development of his practice and experience at the museum with Lumi Tan, associate curator at The Kitchen.

For his first international show, Plastic / Paper, Palladino created a new series of works that explore his two main practices: watercolor painting on paper and 3 - dimensional sculptural reliefs.

Since the early 1990s, Paweł Althamer (b. 1967 Warsaw, Poland) has established a unique artistic practice and is admired for his expanded approach to sculptural representation and his experimental models of social collaboration.

Martineau organized Mapplethorpe's work by major categories — Floral Studies, the Sculptural Body, Portraits, Studio Practice — all of which are represented by pieces hung in the introductory gallery.

Since the late 1960s, Jonas has intermeshed various practices to investigate notions of gender, narrative and the concept of experience and space, as an act of translation and critical interaction with sculptural concepts and forms, translated into performances and installations.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture.

In a conversation with film director, Brian Redondo, artist Doreen Garner shares the motivation driving her sculptural practice: to educate viewers about suppressed racist histories embedded in the foundations of a nation built on slavery.

Hutchins» expressive and intuitive studio practice produces dynamic sculptural installations, collages, paintings and large - scale ceramics, all hybrid juxtapositions of the handmade.

Donovan's work is grounded in a detail - oriented practice of true transformation through sculptural composition.

The most comprehensive survey of his multidisciplinary practice to date, the book features Cave's mesmerizing Soundsuits, public installations, performances and newer sculptural assemblages presented earlier this year at Jack Shainman Gallery's Chelsea and Kinderhook, N.Y., locations.

Terry Adkins: The Smooth, The Cut, and The Assembled will explore the visual and conceptual concerns that define the late artist's sculptural output, inviting a new appreciation of his unique interdisciplinary practice.

This understanding of sculptural language and a preoccupation with forms in space, translated into two - dimensional images, underpins her pictorial practice.

«The attention to detail, historical accuracy and physical nature of Mike Nelson's sculptural practice guarantee that his new installation for the British Pavilion will be one of the most challenging solo presentations ever mounted in over 70 years of exhibitions organised by the British Council in Venice.»

This is not only a new manipulation of the art market but also a compelling reversal of sculptural history — particularly of the practices of Robert Smithson and Matta - Clark.

Exemplifying a strong resurgence in material practices across the UK, the three artists produce sculptural works exhibiting precise languages of process, material or contextual manipulation.

Beginning with a drawing of a bird made on her foundation course in 1974, this chronological survey of Cornelia Parker's poetic, transformative and often explosive sculptural and installation - based practice focuses on the artist's own descriptions of her work.

This first major survey dedicated to the collective brings together multipart projects from the past five years, comprising video, installation, and sculptural works that represent the scope of the group's artistic practice.

«It's the sculptural presence, and the traces of someone's practice, of understanding and remodelling, which raised my attention.»

These artworks mark a reorientation of the photograph in the artist's practice from a supplementary sculptural object to the site of sculpture itself.

Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall - based works that engage the legacy of painting, sculptural installation, and assemblage using manufactured materials like shea butter, books records, and incense.

Practicing an evolutionary approach to his art, Leonardo Drew is in a constant state of making and unmaking his large - scale sculptural assemblages.

Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto's renowned art - making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements.

Although she merges her photographic and sculptural practices in immersive installations, she conspicuously transfers the qualities of materials such as fabric and marble sculpture, into photography, and in the process offer a new, and specifically intermedial, way of framing the past.