Sentences with phrase «process as any sculptor»

The professionals at Fiberworks are experts at creating wearable art, but with her latest solo show, Annemarie Feld reminds us that artists who make functional items also go through as deeply personal a creative process as any sculptor or painter.

Not exact matches

As a part of the Amon Carter's ongoing exploration of the relationship between historical and contemporary art, Surls will speak about his work, how he started as a sculptor, and the process and materials he uses while displaying images of his work and process.&raquAs a part of the Amon Carter's ongoing exploration of the relationship between historical and contemporary art, Surls will speak about his work, how he started as a sculptor, and the process and materials he uses while displaying images of his work and process.&raquas a sculptor, and the process and materials he uses while displaying images of his work and process.»

The same could be said of the late John Chamberlain: his reputation — both as a party animal and as an Expressionist based sculptor who had taken the gestures of deKooning and found an organic way to morph them into sculpture by crushing car metal — might lead some to think there was little discipline or rational process involved in his work.

Throughout a distinguished forty - year career as both sculptor and teacher — he was Professor of Sculpture and Departmental Head at the University of Nigeria, Nsukka — El Anatsui has addressed a vast range of social, political and historical concerns, and embraced an equally diverse range of media and processes.

They will discuss their process and purpose as sculptors and their time as ISC residents in their BSMT studios.

In New York, Willis met fellow painters, Dan Christensen, Jules Olitski, Ken Showell as well as sculptors and installation artists Richard Serra, Alan Saret, and Gordon Matta - Clark, all working out of a process art orientation.

The handcrafted and vibrantly colorful works of Brooklyn - based sculptor Matthew Ronay (born 1976) evoke biological processes and organic forms as much as they draw on spiritual and mythological narratives.

Drawing as a process — a language in itself — remains crucial to his work as a sculptor.

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.

Sarah Altmejd, produced in 2003 when the artist was completing his studies in New York, opens the exhibition and gives us insight into the sculptor's process as a whole.

His vision as a sculptor is based on observation and experience both in terms of ideas; drawn upon his early scientific background and his extensive knowledge of the history of cultural evolution, together with his visual and tactile ability to respond to the forms in his sculptures while in the process of making them.

In 2013, Glynn performed The Myth of Singularity (After Rodin), in which she explored, along with a group of sculptors, the process of replication, recombination and shifts in material and scale often used by Rodin in producing works later regarded as singular acts of brilliance.

The activity of drawing is crucial to his work as a sculptor, which engages with processes and means of manufacture.

Baltz's minimalist and reduced image compositions explore the photographic style as a process, and refer not only to the art of photographers like Lee Friedlander or Robert Frank but also to painters and sculptors of his day such as Donald Judd, Frank Stella, Jasper Johns or Sol LeWitt.

1969 0 Objects, 0 Painters, 0 Sculptors, 4 Artists..., Seth Siegelaub at McLendon Building, New York, US One Month Exhibition, Seth Siegelaub Contemporary Art, New York, US Op Losse Schroeven / Situaties en Cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdam, NL (Verborgene Strukuren), Folkwang Museum, Essen, DE When Attitudes Become Form, Live in Your Head, Kunsthalle Bern, Bern, CH; Museum Haus Lange, Krefeld, DE 18» 6» x 6» 9» x 11» 2 1/2» x 47» x 11 3/16» x 29» 8 1/2» x 31» 9 3/16», San Francisco Art Institute, San Francisco, California, US; traveled to Simon Fraser Center for Communication and the Arts, Simon Fraser University, Vancouver, CA No. 7, Art Workers Federation Benefit, organised by Lucy Lippard, Paula Cooper Gallery, New York, US May - June 1969, Center for Communication and the Arts, Simon Fraser University, Vancouver, CA Language III, Dwan Gallery, New York, US July, August, September 1969, Seth Siegelaub Contemporary Art, New York, US Conception, Perception, Eugenia Butler Gallery, Los Angeles, California, US 0 - 9, Issue # 6, New York, US Wall Show - Part 1, Ace Gallery, Los Angeles, California, US When Attitudes Become Form, Institute for Contemporary Art, London, UK Place and Process, Edmonton Art Gallery, Edmonton, CA; Kineticism Press, New York, US 557,087, Seattle Museum of Art, Seattle, Washington D.C., US Prospect 69, Stadtische Kunsthalle Düsseldorf, Düsseldorf, DE Project Class, Nova Scotia College of Art and Design, Halifax, CA Konzeption / Conception, Stadtisches Museum Leverkusen, Schloss Morsbroich, DE Groups, The Visual Arts Gallery, School of Visual Arts, New York, US Pläne und Projekte als Kunst (Plans and Projects as Art), Kunsthalle Bern, Bern, CH Art Without Space, WBAI - FM, New York, US Art in Process IV, Finch College Museum of Art, New York, US Mail Exhibition, Nova Scotia College of Art and Design, Halifax, CA

MOCA GA's Director Annette Cone - Skelton «is especially excited about this exhibition as it offers the public the unique opportunity to view the many processes undertaken by a professional sculptor in the design and execution of diverse and monumental gateway structures that serve as architectural markers for community identity.

Described by Roberta Smith as «the joking sculptor,» Breuning is known for his videos, sculptures, installations and photo - collages which explore kitsch, cliché and popular culture in deliberately eclectic processes and forms.

Natural processes have always provided Arte Povera pioneer Giuseppe Penone with an analogue for his own labor as a sculptor.