Sentences with phrase «scale sculptures begin»

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Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson's leading artists, of both the past and present — beginning with monumental works such as one of Dan Graham's large - scale glass - and - steel pavilions, entitled Two Vs Entrance - Way (2016), which reflects and refracts visitors and its Brutalist architectural surroundings.

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.

Fritsch's sculpture often begins with a familiar image, which she subverts with shifts in scale and color.

The large sculptures United Enemies (2011) are based on a series of eponymous works on a considerably smaller scale that he began making in 1992.

Although most of Tuttle's prolific artistic output since the beginning of his career in the 1960s has taken the form of three - dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea - based nature of his practice.

The exhibition's title refers to a series of eight large - scale paintings that form the core of the exhibition, which the artist began in 1997 after an encounter with the early renaissance sculpture «The Annunciation Angel» at the San Gimignano Museum.

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.

RADIO TRANSMISSION CONTRAPTIONS begins with a series of small - scale, ceramic and wire sculptures.

This is clear both in his Adaptives (Paßstück) series (begun in 1974), human - scaled sculptures made of plaster to be held and worn by museum visitors, and in his later installations incorporating cabinets, tables, and chairs.

The large - scale sculptures, which begin as small folded paper models, combine the concept of monumental and permanent, emanating at the same time the sense of a potential change and erosion — similarly Falls did in his former project in Zabludowicz residency program in Finland, where some hand - dyed fabrics exposed to the natural elements created new objects and photographic records of the various environmental conditions.

After gradually moving toward working with three - dimensional forms, in 1970 she made the artistic changes in scale and material and began creating figurative and non-figurative sculptures from burlap and resin, eventually moving to bronze, wood, stone, and steel.

The Primordial Molder, is a continuation of her large - scale ceramic sculpture series that ruminates on the creation myth from Taoist tradition: in the primordial world, Nüwa the Snake Goddess marked the beginning of humanity by patching a giant hole in heaven with five - colored stones, using the legs of a great turtle as pillars to support the collapsed sky from the earth.

Along with the more traditional mediums of painting, photography, drawing, sculpture, conceptual, video and performance art we also encourage the submission of sound, text, spoken word, dance, comedy, cooking, large scale painting... As a new century begins and the last still informs every move we make an anxiety of where we are takes many forms from the personal to the political.

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-.

In 1963 he moved to New York and in 1965 began making his large outdoor sculpture featuring common household objects on a monumental scale.

In 2013, Shonibare first started working with fiberglass in a large - scale format beginning with the first generation of Wind Sculpture I - VII.

Like Chris Burden, the performance artist whose retrospective last fall filled all five floors of the New Museum, Oppenheim began his career exploring the aesthetic of self - inflicted pain, and later moved on to large - scale sculpture that straddled art, architecture and landscape design.

Initially staying at the Chelsea Hotel while maintaining an art studio in the Bowery, Arman began with his accumulations of burnt objects («Combustiones») in 1963, before later devoting himself to large - scale public sculptures.

West continued to make plaster and papier - mâché sculpture, and in the mid-90s began making bulbous tubes and large - scale wiry loops, often with seats; readers may remember seeing one such work, «The Ego and the Id,» in Central Park from 2009 - 10.

In the late 1960s, he began experimenting with sculpture, securing numerous commissions for large - scale bronze works of Koranic verses and Islamic symbols, most notably those he executed in 1986 for Islamabad's Shah Faisal mosque.

In the main gallery, Price will show three large - scale sculptures that continue the expansion of his practice into more monumental sizes, which he began working on shortly after his last exhibition at the gallery in 2006, in which he debuted his first large - scale piece.

Charles Ray's Handheld Bird, a sculpture of a bird embryo made of painted steel, continues the play with scale, material, and coloration that has been a hallmark of the artist's work since the beginning of his career.

In the 1970s, Oldenburg began collaborating on large - scale public sculptures with the Dutch art historian Coosje van Bruggen, whom he married in 1977.

Three domestically inclined pencil and white acrylic drawings from 1965 — 66 present a link to the surprisingly figurative beginning of Truitt's large - scale sculpture practice, First, 1961, a section of ersatz white picket fencing perhaps plucked from her suburban neighborhood in Washington, DC.

In 1973, Kelly began regularly making large - scale outdoor sculpture artworks which remain as some of the greatest abstractly sculptured pieces ever made [3].

He began creating multimedia installations that synthesized large - scale drawings and paintings, often incorporating his own writing, along with sculptures, videos (one was based on the television show «Captain Kangaroo»), and performances, often scatological and sadomasochistic in nature.

A (1/3 scale) model of «Stone Legacy,» the first in a series of planned marble sculptures that will grace downtown Rutland, was unveiled for the public today as carvers officially began work on the tribute to the Rutland region's marble... Continued

One of ten artists (including David Smith and Alexander Calder) who were invited by the Italian government to create new works for the Spoleto festival in 1962, where they were given access to materials, tools, and assistants allowing for large - scale sculptures, Pepper began a lifelong engagement with such industrial processes — one of the few female artists of her generation to do so.

In his sculpture he began constructing large - scale outdoor works, sometimes in totem - like shapes: see, for example, Curve XXIII (1981; Yale University Art Gallery).

After first making modular, serial sculpture, Smithson began to design large - scale earthworks (see land art) in the 1960s.

Oldenburg credited van Bruggen as a full collaborator in the design of his massive sculptures from the beginning of their marriage, although her signature was not officially attached to any of the Large - Scale Projects until the University of Nevada, Las Vegas, commission Flashlight (1981).

Kirkeby made Pop - inspired works on Masonite in the 1960s and began producing blackboards and small - scale sculptures in the 1970s, but he would not draw international attention until the 1980s.