Sentences with phrase «scale sculpture when»

This can be seen in the large scale sculpture When the Land Masses First Appeared, 1986 - 98, a work first realised in 1986 and subsequently reworked and completed last year.

Not exact matches

When in LA... go and visit LACMA — the Los Angeles County Museum of Art with this large - scale sculpture called Levitated Mass..

Balkenhol, when shrinking the scale of his works, playfully disrupts the history of figurative sculpture by subverting the monumentality so often associated with it.

When he died in 2010, the German artist left behind five decades of wildly diverse and formally innovative paintings, prints, sculptures, films, photographs and drawings, many of them large scale.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

On view from December 1, 2010 — February 13, 2011, the exhibition Jonathan Meese: Sculpture focuses on Meese's three - dimensional work, including his first ceramic talisman created when he was 15, small assemblages and dioramas from the beginning of his career that have never been shown before, massive bronze sculptures, recent large - scale ceramics, and models and set designs for theatrical and operatic productions.

His European presentation has been held in Galerie Thaddaeus Ropac in Paris in April 2016, when Longo reviled his large - scale charcoal drawings and sculptures within the exhibition Luminous Discontent.

A morass of protracted legal issues, a paltry few hundred dollars and close to 100 large - scale sculptures sitting out in the Chihuahuan desert were virtually all that was left when Judd died in 1994.

Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art, New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England

When traveling to Greece, he became smitten with the large - scale assemblages, seeing that sculpture makes an unbreakable bond with architecture, and he started making more massive pieces, like Sea Music that stands in Poole, Dorset.

With the scale of easel paintings, at a time when Abstract Expressionism had made a larger canvas canonical, they even look like studies for sculpture.

Lee Bontecou: Drawn Worlds on view at the Menil Collection through May 11th, is the first drawing retrospective for the artist who when «rediscovered» for big museum shows a decade ago was rediscovered for her meaty, muscular work: large - scale sculpture that the artist largely concentrated on between 1958 and 1967 before having a child sidelined the sculptural practice.

When it comes to large - scale artistic interventions into the natural world, the movement that usually leaps to mind is Land Art — huge, muscular sculptures carved or pulled from the earth by heavy machinery at the command of men like Robert Smithson and Walter De Maria, self - styled «gruff individualists» who claimed the studio and gallery were simply too small to contain their big ideas.

The offerings at MiArt, with 174 exhibitors, spanned from large - scale wall sculptures by Agostino Bonalumi («He did this when Anish Kapoor was seven years old,» Davide Mazzoleni proudly told me) to a Nanda Vigo solo show at Allegra Ravizza's to performances such as Riccardo Buscarini's «horizontal storytelling» at Nahmad Projects.

This exhibition reveals the broad scale of Ross» work from the large, free - standing, colorful metal sculptures whose simple forms evoke the totemic monuments of an ancient world to the smaller lyrical wall reliefs composed of wood veneers that create a visual extravaganza when placed next to one another.»

Even when, during the 1980s, the artist created large - scale sculptures made with more resistant materials such as polyester or aluminium, his anthropomorphic but abstract forms recall light and manipulable compositions.

When grouped as individuals the tentacles take on interesting architectural forms with great potential for large scale sculptures

When he moved to upstate New York in 1970, Kelly began creating large - scale outdoor sculptures and public art works that appear in museum collections around the world and in public spaces in cities such as Chicago (Curve XXII, also called I Will [1981]-RRB- and Berlin (Berlin Totem [2008]-RRB-.

His sculptures initially caught our eye when they made an appearance in our very first video at Art Basel and now Dupont's busy with his large - scale installation, «Terminal Stage,» due to open at the Lever House next month.

It's an apt anecdote in light of David's present approach to his work: a narrowing of focus to sculpture or at least the transition from drawing to sculpture, a certain modesty of scale that means many of his new works could be held in the hand and, when grouped together, compose on their plinths a kind of community, hovering at the same level while they address us.

When Nevelson was developing her style, many of her artistic colleagues — Alexander Calder, David Smith, Theodore Roszak — were welding metal to create their large - scale sculptures.

When David talks about them resembling toys or tools, it's partly this matter of scale that he has in mind; whereas the larger works are like bodies — one can imagine swapping places with them — the more recent sculptures are more likely to be the size of major bodily organs.

Commemorating the period when Caro first came to international recognition, his large - scale abstract works from the 1960s and 70s were revolutionary as the first freestanding sculptures to be set directly on the ground and for using found objects such as ploughshares and I - beams which the artist then painted uniformly.

Even when considering his three - dimensional works, Richard Tuttle commonly refers to his art as drawing rather than sculpture — the distinction emphasizing the diminutive scale and idea - based nature of his work.

Mona Hatoum has returned to the scene of her solo museum debut with a large - scale retrospective at the Centre Pompidou, which helped to launch her career back in 1994 when she was transitioning from performance and video art to sculpture and installation.

Along with his ongoing production of paintings, Graeber's engagement with sculpture has been fairly constant over the years, with his best efforts being simple small scale works that are aesthetically alive when viewed from any vantage point.

When they die, they [both] become dust...» she may well have been forecasting the essence of her most recent series of large - scale sculptures, «Flowers That Bloom at Midnight,» 2007 — 2009.

He also keeps his large - scale sculptures in the studio, many of them made of lumber from abandoned moorings and piers in the 1960s, when he was part of a small group of artists, including Kelly and Agnes Martin, who lived on Coenties Slip in Lower Manhattan.

Alexander Calder, Large - Scale Sculpture, and the Public Sphere In the 1970s, Wichita put itself firmly on the map of the art world when it commissioned Joan Miró and Alexander Calder — two living artists at the height... Continue reading Calder Lecture at the Wichita Art Museum