Sentences with phrase «scale sculptures such»

His body of work ranges from the collaborative performances with the group SHRIMPS (1984 - 1993) to large - scale sculptures such as Tumble Room (2001) to photographs of performative actions to kinetic and sound producing sculptures.

The display includes film, photographs, maquettes, drawings and large - scale sculptures such as Recumbent Figure, 1938, the first to enter Tate's collection in 1939.

The gantry crane that once served the power station remains high overhead in the Turbine Hall as a tool for moving large - scale sculpture such as the commissioned works by Louise Bourgeois that now fill the east end of this space.

Not exact matches

As a sculptor, my work has been exhibited world - wide, I have been commissioned by international brands, such as Lexus, Ralph Lauren, and Tiffany & Co, and I have created large - scale sculptures on four continents.

Madeleine Grynsztejn, the Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA, who is organizing the Tuttle retrospective there, reflects that Tuttle's courage in scale and willful choice of ephemeral material influenced many younger artists, such as Tom Friedman, Jessica Stockholder, Polly Apfelbaum, Jim Hodges, Tony Feher, and Sarah Sze.

From vast outdoor public sculptures such as the Angel of the North and Mark Wallinger's soon to be realised White Horse to the many projects designed to enliven Tate Modern's vast, bare Turbine Hall, the scale of art just keeps getting bigger.

This wide - ranging, multidisciplinary category could include art typically defined as sculpture, performance, documentary photography, and even large - scale interventions in both man - made and natural environments, such as wrapping architectural landmarks, or sketches and maquettes related to MOCA Jacksonville's Project Atrium series.

This group exhibition includes a diverse range of materials and medias, such as: painting, photo, video, ceramics, and a new large - scale sculpture by New York - based, Smyrna, Georgia - born Charles Harlan.

Through different medias such as photography, film, and sculpture, Boltanski creates large - scale installations about communal memories and identities.

He is renowned for being one of the first artists to make the radical gesture of taking the canvas off the stretcher and hanging it directly on the wall in works such as Purple Octagonal 1967, as well as making provocative sculptures such as Third Rope Piece 1974, the intimate scale of which directly responds to traditional ideas of monumental art.

The addition of a large - scale sculpture from this period by Nancy Graves, one of the leading artists of her generation, introduces an important woman artist to the ICA / Boston's collection and marks a major contribution to the museum's holdings of sculptures by such artists as Louise Bourgeois, Tara Donovan, Rachel Harrison, and Keith Sonnier.

The first part, MANIC / LOVE, featured Wolfson's most recent large scale animatronic installation Colored sculpture (2016), whose red hair, freckles, and boyish look draw associations with such literary and pop cultural characters as Huckleberry Finn and Howdy Doody.

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.

The human scale of this particular Spider creates a sense of preternatural unease, offering a more unsettlingly intimate encounter than larger spider sculptures such as the monumental Maman (1999), one version of which today towers ten metres tall outside the Guggenheim Bilbao.

Much of the artist's imagery is derived from the organic, such as the Anthropomorphic Self, 1978, a cedar and mahogany sculpture of human height and scale suggesting a «biological version of a cylinder.»

He previously depicted food items in pieces such as Pumpkin Sculpture (1998) and the large - scale, cartoonish sculpture Hot Dog Man (2011), and his use of found objects (like the jars and bottles in the «Spill Paintings») started with My Empire (2011), a 6 - foot - tall assemblage of detritus that came from cleaning out hiSculpture (1998) and the large - scale, cartoonish sculpture Hot Dog Man (2011), and his use of found objects (like the jars and bottles in the «Spill Paintings») started with My Empire (2011), a 6 - foot - tall assemblage of detritus that came from cleaning out hisculpture Hot Dog Man (2011), and his use of found objects (like the jars and bottles in the «Spill Paintings») started with My Empire (2011), a 6 - foot - tall assemblage of detritus that came from cleaning out his office.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

By sharing key stylistic elements in the artworks, such as their frontality, obsession with surface and static quality, the contemporary sculptures echo the mystery and scale of Nevelson's pieces, registering as somber black objects dissolving into complex surfaces.

Through key examples of paintings, drawings, large - scale sculpture, graffiti, and products such as toys and apparel, this exhibition aims to reveal critical aspects of his formal, conceptual, and collaborative developments.

These land art or «earth art» environmental scale sculpture works exemplified by artists such as Robert Smithson, Michael Heizer, James Turrell (Roden Crater).

Other spectacular works display the imagination of Hong Kong artists, such as Amy Cheung's full - size wooden toy tank, which visitors can climb into and operate, and Adrian Wong's large - scale animatronic soft sculptures.

For this special occasion we have selected with Pilar Ordovás a group of works which are all closely related with Chillida's interest in public art and, therefore themes such as scale - in particular the human scale, which is always an important reference in his work, making his sculptures monumental regardless of their size.

This Gallery allowed for an expanded exhibition schedule and provided facilities for large - scale works and dramatic installations, such as Peter Halley's explosive hanging of paintings and wallpaper, Marc Quinn's complete series of carved marble statues of persons with missing limbs, monumental sculpture by James Lee Byars, and, most importantly, a four - channel DVD installation by Barbara Kruger.

This exhibition will feature paintings ranging from small to very large - scale, and a selection of sculpture meticulously carved from elemental materials such as graphite, pewter and salt.

The spacious, sunlit rooms make the large scale sculptures, such as the work of John Chamberlain and Richard Serra, seem as though this is where they were meant to be all along.

Artists such as Nevelson and David Smith became known for large - scale outdoor sculptures and public art, while Aaron Siskind sought to capture the same kind of energy and movement in his photography that Pollock was attempting to evoke through action painting.

The exhibition features a series of sculptures and a large - scale, immersive installation fashioned from intricately reconstituted street materials, such as yellow and red «caution» tape, construction tarps, garbage bags, discarded hub - caps and debris netting.

Celebrated for his full - scale installations and wall - mounted sculptures, Drew uses a variety of materials such as wood, iron, cotton, paper and mud to re-work in the building of new and lively forms.

Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly — who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics — Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring.

This year's edition of Art Basel's Art Unlimited section presents large scale installations, sculptures and videos by artists such as Erik van Lieshout, Daniel Buren, Etienne Chambaud, Anish Kapoor, Vera Lutter, Waltercio Caldas, Cerith Wyn Evans, Jorinde Voigt, Rirkrit Tiravanija, Carl Andre, Fred Sandback, Allen Ruppersberg, Mona Hatoum, Kendell Geers, Sudarshan Shetty, Gardar Eide Einarsson, Christian Andersson, Daniel Robert Hunziker, Lun Tuchnowski, David Zink Yi, Jason Rhoades, and Jennifer Allora & Guillermo Calzadilla.

Shown alongside a series of other hand - carved, small - scale sculptures with titles such as Headless (2017) and Toy Flowers (2017), it has become a favourite with Instagrammers.

However, this exhibition aims to illuminate both the positive and negative aspects of evolution through a variety of media such as immersive video, large - scale painting, sculpture and installation by artists including Doug Aitken, Andreas Gursky, Patrick Bernatchez and Tom Sachs.

For instance, Brazilian artist Carmela Gross's 1968 sculpture of a slab of ham looks a lot like one of Claes Oldenburg's soft sculptures of scaled - up commercial products, but Gross's title, Presunto (Ham [slang for corpse]-RRB-, expediently dissuades such a simple interpretation.

In the spacious galleries on the ground floor the artist presents carefully staged settings of larger than life - sized sculptures, such as mock - ups of an ancient olive tree or of a fireplace with mantle, as well as large - scale paintings.

Through creating large - scale sculpture, often using found objects such as doors from rural Chinese homes, he continues to explore new ways to render his interest in the human body and its unique language.

Among the numerous works on display are sculptures that he created with artist friends such as Niki de Saint Phalle, Berhard Luginbühl, Daniel Spoerri, and Eva Aeppli, his sculptures that deal with his passion for motor racing, and two of his complex large - scale sculptures that touch the senses by the use of kinetic, optical, and acoustic means.

There will be a large scale of works, such as a 4 - meter height huge sculpture, around 8 - meter height drawing, and his first attempt - a series of paintings.

The paintings, sculptures, photographs, drawings and videos focus on ordinary objects, such as a brown paper lunch bag, a pink eraser or a 2 - ply, white garbage bag, which are transformed by the artists, who employ unexpected materials or play with scale.

In the «70s, the artist prepared numerous large - scale installations, such as Blocks and Stones in 1973 for the Portland Center for the Visual Arts, Oregon, and outdoor works, such as Stone Field Sculpture in 1977 in Hartford.

Initially handcrafted to scale by the artist from ephemeral materials, such as cork, Styrofoam, air - dried clay, and plastic, the sculptures were then cast in bronze.

Comprised of found material seen every day on city streets, such as old billboard signs and orange traffic cones, this large - scale speaker sculpture turned the gallery space into a laboratory for art and sound.

Referencing the brutal figuration of Dubuffet and Picasso, they are also linked to the large - scale sculpture of Hudson's contemporaries such as Aaron Curry and Thomas Houseago.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

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.

The imagery of the gum and eraser sculptures is also manifest in larger single ceramic and bronze works, and latex pieces such as Pink Champagne (1975), a large - scale petal - like structure which in all its fleshy pink and tactile softness becomes a highly sensuous and seductive evocation of the female form.

Included are favorite artworks that have not been on view in years, such as large - scale installations by Spencer Finch, Robert Gober, Jannis Kounellis, Bruce Nauman, and Ernesto Neto, as well as paintings and sculptures by Janine Antoni, Aligheiro e Boetti, Cai Guo - Qiang, Isa Genzken, Alfred Jensen, and Brice Marden, among others.

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.

The sculptures in this exhibition recall in size some of the early domestically - scaled Accumulations, for which Kusama covered such things as ironing boards and travel valises in the stuffed - fabric protuberances, yet the works on view here are painted in the style that has come to characterize Kusama's most recent paintings.

Using figurative representation and playful geometric abstraction, Brooklyn - based artist Ted Lawson is someone who loves to combine digital technology — such as 3D printing — with traditional art methods to create organic fine art as well as large - scale sculptures that explore humanity.

He's already working on video and instructional tutorials that cover techniques, such as mixing products, proper lighting, optimal locations for sculptures, texturing techniques, the importance of scale in art, depth - of - field for 3D images.