Sentences with phrase «other early sculptures»

Smaller rooms in back hold other early sculpture along with modernist painting.

Not exact matches

Croak writes: «Early Modernism in painting, loosely defined as artwork seeking an essentialism constructed between the late 19th century up until WWII, was an intellectual adventure of the first order, having its manifestation in philosophy, poetry, sculpture, music and other forms of reflection.

Recent solo exhibitions include Whitford Fine Art, an exhibition of his early 80's steel sculptures; other significant exhibitions include Hayward Gallery and Serpentine Gallery, Guggenheim, Venice, Ikon Gallery, Birmingham, Galerie Josine Bockhoven, Amsterdam, Robert Steele Gallery, New York, Bodo Niemann Gallery, Berlin, Waddington & Shiell Gallery, Toronto, Musee Dʼart Moderne, France and The National Gallery, Australia, Flowers Gallery, London, Whitford Fine Art, London, and Henry Moore Institute, Leeds.

Robert Murray, Ronald Bladen, Ann Truitt, Beverly Pepper, Robert Hudson, Larry Bell, Alexander Liberman, Robert Grosvenor, Forrest Myers, Michael Steiner, Peter Reginato, Marisol, Manuel Neri, Joel Perlman, Willard Boepple, James Wolfe, and dozens of others were by the late sixties - early seventies making important and expressive sculpture in a variety of styles.

The collection includes many works acquired early in its artists» careers, among them: collage by Kara Walker; paintings by Mickalene Thomas; neons by Tracey Emin, digital animation by Jennifer Steinkamp; paintings by Amy Sillman; sculpture by Kiki Smith; wall relief by Teresita Fernandez and woven trompe l'oeil by Miami artist Frances Trombly, among others.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

One of his best known early collaborative projects, the Tumblr - based art platform / meme generator known as Jogging, accomplished this by showcasing the cheeky ad hoc sculptures and Photoshop creations of Troemel and his friends as if the screen were a flat kind of virtual plinth; his Etsy store came at things from the other direction, using the craftsy online commercial forum as a place to present totally ridiculous, often perishable products — a Doritos Tacos Locos taco secured shut by a Masterlock, or a cluster of hot dogs, q - tips, and a SuperCuts pen wrapped up in a Livestrong bracelet — as if they were homespun products people might actually want.

In contrast to Andre's later works, Last Ladder and the other carved wood sculptures of this early period are distinct in their demonstration of the artist's hand and in their evidently autonomous nature as artworks.

Beirne has exhibited extensively and to great acclaim since the early 1970s at institutions including P.S. 1 Contemporary Art Center, New York; the National Center for Contemporary Art in Kaliningrad, Russia; TV Gallery, Moscow; MIT List Visual Arts Center, Cambridge; the Sculpture Center, New York; the International Center of Photography, New York; The Whitney Museum of American Art, New York; Anthology Film Archives, New York; the New Museum of Contemporary Art, New York; and Artists Space, New York among many others.

An early 20th - century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

One of the most persistent themes in contemporary art since the early 1990s has been the proliferation of work that addresses «ruined modernity» and «failed utopias»: in other words, a type of art that reformats iconic examples of 20th - century architecture and design into painting, sculpture, photography, video, slide shows, archival installations, etc..

Rauschenberg had met Twombly at the Art Students League and, in 1952, the two embarked together on a trip to Italy, Morocco and Spain during which they pursued some of their earliest experiments in drawing, photography, sculpture and other genres.

These works include her richly layered wax paintings and poured latex and polyurethane foam sculptures of the late 1960s and early»70s; innovative videos, installations, and «knots» from the 1970s; metalized, pleated wall pieces of the 1980s and»90s; and pieces in a variety of other mediums, such as glass, ceramics, photography, or cast polyurethane, as in the case of the monumental The Graces (2003 — 05).

Other highlights from the sweeping exhibition include Romare Bearden's Jazz 1930s — The Savoy (1964), South Korean artist Lee Lee - Nam's digital video Early Spring Drawing - Four Seasons 2 (2011), a pair of Lakota gauntlets (ca. 1890), photography by Manuel Álvarez Bravo, Roy DeCarava, and Gertrude Käsebier; paintings by Emile Bernard, Ed Blackburn, Archie Scott Gobber, and Albert Bloch, sculptures by James Henry Haseltine and Tip Toland; works on paper by Kara Walker, George Copeland Ault, Miguel Rivera, and Jules Olitski; and decorative arts including a Christopher Dresser claret jug and umbrella stand, a frame by Archibald Knox, and jewelry by the late artist Marjorie Schick.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

What to see at the museum The large collections of fine arts of the Smithsonian American Art Museum include paintings, sculptures, drawings, prints, photographs, installations, videos and new media, ranging from early colonial times to contemporary American authors such as Nam June Paik, Barbara Bosworth, Robert Longo, Sean Scully and Jim Campbell, among others.

European Art, 1949 ‐ 1979 will include many other donations: a Letter to Palladio by Giuseppe Santomaso, early and late paintings by Armando Pizzinato, decoupages by Mimmo Rotella, two paintings by Lucio Fontana including a 1955 example of «holes» bequeathed in 2011, a major painting by Pierre Alechinsky, an aluminum relief by Heinz Mack, prints by Eduardo Chillida, a Homage to the Square by Josef Albers, an «extroflexed» canvas by Agostino Bonalumi, an entire room of sculptures by Mirko as well as his iconic tempera study for the Gates of the Fosse Ardeatine, a late monotype by Emilio Vedova, works by Bice Lazzari, Gastone Novelli and Toti Scialoja, and two paintings by Carla Accardi, including the magnificent Concentric Blue of 1956.

These sculptures and others from the last twenty years are quite different from Hammons's body prints (the earliest works in the show), which he made by smearing his body in oils and pressing it against canvas.

One outstanding example consists of four works from the late 1970s through the early 1990s: Yarn hangs loosely from the ceiling in overlapping half ovals (The Nearest Air, 1991) while two works, both titled Sculpture for Nontransparent Materials (1985) and made of solid wood and marble hemispheres sit closely on the floor, facing each other.

Highlights from the collection include furniture by Charles and Ray Eames, ceramics by Beatrice Wood, and sculptures by Claire Falkenstein, George Rickney and Peter Voulokos; Early 20th Century European Modernist paintings by Vasily Kandinsky, Alexej Jawlensky and others from the Milton Wichner Collection; and contemporary artists such as James Jean, Sherrie Wolf, and Sandow Birk whose paintings have recently been added to the collection.

This exhibition was drawn from the Smart Museum's rich holdings of bronzes as well as sculptures in other materials by these leading European masters of early modernism.

David Lynch is a well - known film director but has also expressed his creative impulses in other media from his early years: painting, photography, animation, and sculpture as well as film.

In the early 1960s Mathieu also experimented with other mediums, making his first monumental sculptures in 1962.

Kevin Beasley is an artist in his early 30s whose work with sculpture and sound has drawn on his upbringing in rural Virginia and, from his current home in New York, his communion with markers of African - American history, among other sources.

These early years in his bottega formed the foundation of her artistic skills, not only in drawing and painting, but also in sculpture, ceramics and other techniques such as engraving, as well as a profound appreciation of art history.

Emily Nathan, writing for artnet this week notes: «Along with other younger artists, Ekblad is putting her own stamp on a kind of evocative abstraction that had seemed exhausted by earlier masters, from Wassily Kandinsky and Joan Miró to Jackson Pollock and Asger Jorn, and her works offer a refreshing return to the simple, physical pleasure of sculpture and painting.

Kevin Beasley is an artist in his early 30s whose work with sculpture and sound has drawn on his upbringing in rural Virginia and, from his current home in New York, his communion with markers of African - American history, among other... Read More

His most recent solo exhibitions include: «Song,» The Renaissance Society, Chicago (2017); «The Measure of Memory,» Galleria Raffaella Cortese, Milan (2017); Public Process, Sculpture Center, New York (2017); «Play,» Tanya Leighton Gallery, Berlin (2015), «Prescribe The Symptom,» Midway Contemporary Art, MN, (2015), «Loyalties and Betrayals,» Murray Guy, New York (2015), «Secondary Revision,» Frac Île - de - France / Le Plateau, Paris (2013), «A Portrait, A Story, And An Ending,» Kunsthalle Zürich, Switzerland (2013), «Alejandro Cesarco,» MuMOK, Vienna (2012), «Words Applied to Wounds,» Murray Guy (2012), «The Early Years,» Tanya Leighton (2012), «A Common Ground,» Uruguayan Pavilion, 54th Venice Biennial (2011), «One Without The Other,» Museo Rufino Tamayo, Mexico (2011), «Present Memory,» Tate Modern, London (2010).

Perhaps more than any other sculptor of his generation, he made manifest in his sculpture of the early 50's the whole, abstract and essentially non-Cubist space that was being developed by the Abstract Expressionist painters.

During the early to mid-1920s, she was commissioned to create several sculptures, including a bust of NAACP leader W.E.B. Du Bois and charismatic black nationalist leader Marcus Garvey — two key black leaders of the period who were often at odds with each other.

Eventually, these early drawings started to manifest as real audio cables and other music residue — like CD cases — into sculptures and large - scale wall installations.

Moving away from the heavy mass of material reality of his early sculptures, such as Koolman (1997) & Zugunruhe (2006), which are derived from psychological objects and embodied in polyester resin, the new Other Side series embraces disembodiment as a methodology for production that is at once conceptual & sculptural without weight.

This new engagement broadens Dault's explorations of the tools and materials of other trades exemplified by earlier sculptures made with off - the - shelf Formica and Plexiglas.

Even her early sculptures have a simple clarity that most of these other artists lack.

She arrived in Berlin at 19 to study sculpture at the Universität der Künst, and spent these early years fully immersing herself in the city's buzzing art scene, learning, working and meeting with other artists.

Yet in many other ways, Wiley's work could hardly be more different: in substituting male for female, black for white, and present for past, he upends the earlier sculpture even as he quotes it.

Regardless of the lack of critical writing that exists about these works, it can not be denied that early video sculpture influenced the trajectory of video's use in art and expanded its influence to other mediums, such as sculpture and installation.

1989 Concept - Decoratif (Anti-Formalist Art of the 70s), Nahan Contemporary, New York, US The Presence of Absence: New Installations, Gallery 400, University of Illinois at Chicago, Chicago, Illinois, US; University of Arizona Museum of Art, Tucson, Arizona, US; Laumeire Sculpture Park and Garden, St. Louis, Missouri, US; Albany Institute of History and Art, Albany, New York, US; Oakville Galleries, Oakville, Ontario, CA; University of Kentucky Art Museum, Lexington, Kentucky, US; Longview Museum and Arts Center, Longview, Texas, US; Prichard Art Gallery, University of Idaho, Idaho, US; Museum of Art, Penn State University, University Park, Pennsylvania, US; The University of Iowa Museum of Art, Iowa City, Iowa, US; University Art Museum, University of New Mexico, Albuquerque, MX; Otis / Parsons Gallery, Los Angeles, California, US Words, Tony Shafrazi Gallery, New York, US Inedits / I, FRAC Bourgogne, Dijon, FR; APAC, Centre d'Art Contemporain, Nevers, FR Micro Sculpture, Fine Arts Center, University of Rhode Island, Kingston, Rhode Island, US Early Conceptual Works, Sperone Westwater Gallery, New York, US From Concept to Context, The Art Gallery of York University, Toronto, CA Saga 89, Eric Linard Editions, Grand - Palais, Paris, FR Un Choix dans les Collections du Nouveau Musee de Villeurbanne, Palais de Beaux Arts de Charleroi, Charleroi, BE Collections du Frac Nord Pas - de-Calais, Santa Scolastica, Bari, IT Group Show, San Francisco University Art Department Gallery, A&I Room 201, San Francisco, US Word / Image, Lehman College Art Gallery, Bronx, New York, US Ad Usum Dimorae, Palazzo Querini Stampalia, Venice, IT Bilderstreit, Ludwig Museum, Rheinhallen, Cologne fair grounds, Cologne, DE From the Collection of Dorothy and Herbert Vogel, Terra Museum of American Art, Chicago, Illinois, US Open Mind - Circuit Ferme, Museum van Hedendaagse Kunst, Ghent, BE Ohne Auftrag, Mai 36 Gallery, Art Frankfurt, The New International Art Fair, Frankfurt, DE Magiciens de la Terre, Centre Georges Pompidou and Grande Halle, La Villette, Paris, FR Competition Diomede, The Clocktower Gallery, New York, US; San Francisco State University Art Department Gallery, A&I Room 201, San Francisco, California, US Ideas and Ephemera, Real Art Ways, Hartford, Conneticut, US Geometrie Meridienne, Chateau Coquelle, FRAC Nord Pas - de-Calais, Dunkerque, FR Noise et Fenetres en Vue, Musee d'Art Moderne, Liege, BE Locus Solus XII, Galerie Hubert Winter, Vienna, AT Fondation Daniel Templon, L'Exposition Inaugurale, Capitou, FR Furkart 1989, Furkapasshoehe, CH Analytic to Poetic, Burnett Miller Gallery, Los Angeles, California, US Skulpturen für Krefeld I, Museum Haus Esters, Krefeld, DE John Miller / Gary Mirabelle / Lawrence Weiner, American Fine Arts Co, New York, US In Other Words, Museum am Ostwall, Dortmund, DE Gran Pavese: The Flag Project, Museum van Hedendaagse Kunst, Antwerpen, BE; Druot Montaigne, Paris, FR Another Group Show, Galerie Hubert Winter, Vienna, AT Forum, Stalke Gallery, Hamburg, DE Hier Wird Getanzt, XPO Galerie, Hamburg, DE Group Show, Elizabeth Kaufman, Basel, CH Lineart»89 Gent, Galerie B. Coppens and R. Van De Velde, Flanders Expo, Brussels, BE «Dreams» and Other Works on Paper, Leo Castelli Gallery, New York, US Moscow - Vienna - New York, Wiener Festwochen, Messepalast, Vienna, AT Minimal and Conceptuel, Oeuvres Anciennes, Gabrielle Maubrie, Paris, FR The Library - Artists» Books, A / D, New York, US Hamburg Projekt 1989, Hamburg, DE Einleuchten, Will, Vorstel und Simul in HH, Deichtorhallen, Hamburg, DE Musee d'Art Contemporain Lyon / Werke aus der Sammlung, Stadtische Galerie Goppingen, Goppingen, DE Sculptures de Kabakof, et al, ELAC, Lyon, FR Conceptual Art - Une Perspective, ARC, Paris, FR; Deichtorhallen Hamburg, Hamburg, DE; Fundacio Caixa de Pensions, Madrid, ES Broken Lines, Victoria Miro Gallery, London, UK Bel voor de Laatste Ronde, Art and Project, Amsterdam, NL Die Letzen 22 Jahre, Kunstverein in Hamburg, DE Acchrochage für Tatlin, Stadtische Kunsthalle Dusseldorf, DE

In earlier days, one could distinguish a master - artist - in painting, sculpture, ceramics, photography, and other art forms - by his theoretical and practical skills.

It will make up a wide - ranging exhibition of paintings and sculptures by Gauguin himself, as well as earlier depictions of Tahiti by other artists.

In some ways, this was the result of a process that had been building up for decades: The modern art movements of the early 20th century can be defined by their struggle with the legacy of Western Art; artists were clamoring to break out of these boundaries either by leaving and working elsewhere (for example German expressionists August Macke and Emil Nolde followed in the footsteps of French post-impressionist Paul Gauguin) or by seeking inspiration and incorporating what they could from the «exotic» art of other cultures — from African sculpture to Japanese prints.

His early explorations in art - making soon blossomed into a cohesive envelopment of painting, printmaking, sculpture, and watercolour, among others.

Among 208 works of modern art — including paintings and sculpture, as well as works in other media from the early 20th century to the present — are major additions to the National Gallery of Art's holdings of 1,713 works.

Like several other shows from the early 1990s, including Jeffrey Deitch's Post Human (1992), Kelley's experiment took its cue from the rise of «mannequin art,» a term he coined to describe artists like Charles Ray, Kiki Smith, and Jonathan Borofsky, whose life - size sculptures — not, in fact, all mannequins — evoked anxieties about the role of the human body in a time wrought by the AIDS epidemic, the growth of plastic surgery procedures, and advances in biotechnology.

Other participants include Nina Katchadourian on Early Netherlandish portraiture, Nick Cave on Kuba cloths, John Currin on Ludovico Carracci's The Lamentation, and Jeff Koons on Roman sculpture.

His far - reaching creative output from 1930 - 1990, the earliest influences of which include Cubism, Pointillism, Surrealism, aboriginal art and art of other ancient cultures, also contains sculpture and graphic art.

In the seven other side galleries of The Tetley that encircle the central gallery, Trayte has assembled a menagerie of sculptures that feature two or three food - related sculptures of various textures and materials, rising up from a stainless steel base and often incorporating a naked light bulb like those found at an early morning produce market.

Other Oticicia works in MoMA's holdings range from one of his earliest geometric paintings to a beautiful monochrome, which clearly dovetails with works made from the same time by Robert Ryman, Yves Klein, and others in MoMA's collection, to an example of the interactive, performance - based sculptures he made in the 1960s and 1970s.

[5] For his early sculptures, West often covered ordinary objects — bottles, machine parts, pieces of furniture and other, unidentifiable things — with gauze and plaster, producing «lumpy, grungy, dirty - white objects».