Sentences with phrase «scale wall piece»

P.S. 1 presents the third installment of the site - specific series On - Site, a new large - scale wall piece by Mickalene Thomas titled Le Déjeuner Sur L'herbe: Les Trois Femmes Noires (2010).

Her bronze alligator head was still available, as well as Bove's hypnotic large - scale wall piece of peacock feathers, which serves as the stand's centerpiece.

With several large - scale wall pieces of irregularly - shaped Plexiglas, screws drilled through acetate into the wall, and a polysilk curtain installation, Rafferty employs new mediums while continuing to challenge the definitions of photography, sculpture, and painting.

Not exact matches

The police have launched an investigation into the homicide and promised a thorough probe to bring the assailant to book, having cordoned off the area and collected pieces of evidence, including a ladder, which the attacker is believed to have used to scale a wall to flee.

Additionally, my husband and I assembled a collection of art pieces that were of the right size and scale for this large wall but that also have meaning to us (sometimes a big awkward wall calls for big pieces of art and a long bench!).

Clues have been produced large scale which can be useful for a wall display on the topic as well as a publisher document which is ready to print and cut and piece together.

Throughout Rosewood Sand Hill, a captivating collection of Northern Californian art graces the walls, including contemporary paintings, works on paper, fine art prints and photography with several large - scale, specially - commissioned pieces showcasing the region.

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.

Sol LeWitt: Wall Pieces (Drawings 1972 — 1998 and Maquettes for Large Scale Structures), Lisson Gallery, London, May 21 — July 4, 1998.

JP: In the video, I had explained that I started making art by painting large works collaboratively with friends and that I had learned a lot by doing that, and I explained how I learned to make a sketch on a piece of paper of the size of a larger - scale drawing on a wall.

Harmonic Distortion is comprised of an eponymous series of large - scale sculptures, a further series of wall - based works, and a performative piece inspired by Shibari, a ritualised form of erotic bondage that will incorporate drawing and original music.

Since then, Tuttle has presented prominent and influential series in the history of contemporary art such as the cloth pieces, which he installed dyed and cut canvas on the wall, and were both pictorial and three - dimensional, and the wire pieces, which consisted of wire and its shadow and pencil lines, and small - scale collage pieces among others.

Wurm's well - known sweater pieces, in the format of large - scale wall works, blur the boundary between human form and the museum building.

In the 1950s he began producing large numbers of stabiles — large - scale constructions made from cut and painted metal sheets — and simultaneously explored new forms such as Towers (wall - based wire constructions with moving elements) and Gongs (sound - producing metal pieces).

While the 70's Narrative works engage senses beyond sight through evocative language and color photographs, the wall pieces from the 1980s are immersive, incorporating elements of texture, sound, and monumental scale.

The space will be transformed to accommodate each exhibition in the programme, with moveable walls, lighting and bookcases making it suitable for everything from large - scale exhibitions to intimate performance pieces.

Large - scale sculptures of compressed vinyl covers are then finished in resin to create a glossy shrine - like piece off the wall.

The pieces are often staggering in scale and sensually arresting, frequently employing food and drink as media: one ton of ribs with honey dripping on them from the ceiling; 2,000 hard - boiled eggs with a pile of latex gloves nearby to pick them up; 1,521 doughnuts hanging on a free - standing wall; a room - sized cell padded with 1,800 cones of pink cotton candy.

The main piece, which gives its name to the show, is a large scale painting made with plasticine (non-hardening modeling clay) directly attached to the wall of the gallery.

In advance of the opening, we asked curator Susan Harris for her personal insights on the show, which includes three large - scale drawing projects — four freewheeling, cast paper pieces by Lynda Benglis, a 15 - foot drawing by Inka Essenhigh, and a temporary wall drawing by Pat Steir.

Other featured artists include Anita Arliss, whose mixed - media canvases are included in the permanent art installations at Hartsfield - Jackson Atlanta International Airport; Bethany Collins, who recently completed a residency at the Studio Museum in Harlem; and Justin Rabideau, who salvages wood from new construction sites and houses on the verge of collapse to create scaled pieces — from very tiny wall pieces to very large installations and large - scale sculptures — for his brightly - colored «Shim» series.

The site - specific installation commissioned by the SCAD Museum of Art is composed of three large - scale, thinly sliced pieces of marble, balanced in a tilted configuration but held upright by industrial ratchet straps that stretch from the gallery's walls.

Stretching across the entire back wall of the gallery is Wilke's large - scale multiple latex wall piece Ponde - r - rosa 3: Double Sun (triangle), Blue Champagne (square), Broken Blossoms (circle)(1975).

She cast the organic shapes large - scale in milky acrylic to create two translucent, radiant sculptures — a 15 - foot - long, wall - mounted horizontal piece titled Slug and a 13 - foot - tall floor - to - ceiling piece titled Egg, each lit from within and host to a lush universe of plant life.

Wooden wall pieces replicated sections of siding or roofing on a tiny scale.

It will focus on large - scale sculptural works and wall pieces where, unlike the installations, it is the viewer who surrounds the individual works.

In her current show at David Zwirner, titled simply Isa Genzken, the artist presents sculptures from her Shauspieler (Actors) series, two new large - scale architectural sculptures, pieces from her Nefertiti series, as well as panel works both on the floor and along the walls.

Working primarily with clay, Ruais makes large - scale ceramic floor and wall pieces that covet their own self - sufficiency.

For their piece, Debtfair (2017), dry wall was removed and members» small - scale works are set between the exposed studs.

The small scale contrasts dramatically with the digitally printed 40 - foot - long wall piece on traditional Japanese paper she created during her 2006 residency at Artpace.

The exhibition includes a series of large - scale paintings, on linen and panel, and a wall - piece related to Takenaga's current installation Nebraska at MASS MoCA.

Combining a wide range of colors, Judd used the material to create five large - scale floor pieces (including one in the Museum of Modern Art, New York) and horizontal wall works in unique variations of color and size, such as those on view in this exhibition.

Some of his most celebrated work includes the formative piece An Oak Tree (1973), sensationally colored paintings of mass produced objects, and large - scale black and white wall drawings.

Organized by guest curator Gregory Volk, Michelle Stuart, Theatre of Memory: Photographic Works consists of twelve recent large - scale works — including a major wall piece created specifically for this exhibition — as well as two important pieces from the early 1980s that can be seen as precursors to Stuart's later direction.

At the Frieze fair, which opens on Friday, numerous galleries will include work by Biennial artists: New York's Mitchell Innes and Nash, which represents Pope.L, whose massive installation in the Whitney included hundreds of pieces of bologna affixed to the wall in pushpins, will be offering one of the artist's (less perishable) photographs; the Los Angeles - based Night Gallery will feature works by Samara Golden, whose installation in the Whitney, The Meat Grinder's Iron Clothes, included miniature interiors and a profusion of mirrors; and Mary Mary, a Glasgow gallery, will feature a booth with works by Aliza Nisenbaum, whose large - scale, figurative paintings of immigrants are also included in the Biennial.

Katz's love of contrast recently found large - scale expression at the U.S. Embassy in Azerbaijan, where nine smaller pieces make up a wall installation that brings placid, minimalist pleasure to an undeniably hectic place.

The exhibition features works ranging in scale from the intricate series of Section, Extension wall pieces to the 3 - metre long floor - based sculpture Systems VI (2011).

Along with featuring large - format pieces, our exhibition presents an ensemble of late small - scale works as a large wall tableau that occupies the exhibition space in an unusual fashion.

The Frith Street Gallery contained large - scale works by Tacita Dean lining the walls, but the main centerpiece was Cornelia Parker's 30 Pieces of Silver (with reflection) of 2003.

Highlights include: Flags I Jasper Johns» richly layered 1973 screenprint, presenting an iconic image within the artist's oeuvre in its most striking graphic form; a monumental screenprint on linen, Océanie, la mer, Henri Matisse's largest scale editioned piece and a brilliant example of his use of «cut - outs»; Andy Warhol's beloved Flowers, a powerful wall of color that is his 1970 portfolio of 10; and Baby Charles Looking Over His Mother's Shoulder (No. 2), Mary Cassatt's unique pastel counterproof, portraying the artist's extraordinary ability to capture maternal love.

Upon entering, one is immediately exposed to the wall - scale title piece, an unfolding electronic painting projected onto a black wall that slowly emerges in digital brushstrokes of surreally flattened and warped images.

Ranging in scale from tabletop to large - scale floor and wall pieces, made primarily of fiberglass and resin, and painted with colorful oils and acrylics, the works are whimsical and welcoming, sturdy enough to climb on and comfortable enough to lounge in, alone or with a partner depending on the design.

Galerie Thomas Zander is pleased to present an exhibition of new wall pieces as well as large - scale drawings from the mid-1980s by the New York - based artist Don Dudley.

The utopia of placeless infinity (Untitled, «Infinity wall,» 2008) or the reminiscence of a former socialist utopist turned dictator (Thaw (Takaki Masao), 2007) explore this theme, as do the most recent large - scale sculptures, which, like pieces of architecture, allow the viewer to access interior worlds and provide him / her with an intense spatial experience (Via Negativa, 2012).

In addition to the planks, the artist also creates wall pieces and free - standing sculptures in varying geometrical shapes and sizes, ranging from smaller forms on pedestals to large - scale, outdoor structures in the shape of pyramids, ziggurats, tetrahedrons and occasionally crystals.

The exhibition will comprise a series of large - scale paintings, on linen and panel, and a wall - piece related to her current installation at MASS MoCA.

A large new installation of sculptural wooden objects will form the center piece of the show and be augmented by new large - scale wall drawings and a number of works on paper spanning the last five years.

Elsewhere Costa has deployed coloured polythene bags (rubbish and recycling sacks from different London boroughs) to create geometrical wall pieces akin to Constructivist paintings; while in a series of small - scale paintings, he combines the methods and motifs of embroidery, collage and cartoons Quoting artistic precursors in seemingly degraded materials or formats, Costa playfully interrogates the «real value» of works of art, addressing the question of how unspectacular or even desultory materials might transmute into an art object and vice versa.

Barbara Takenaga has created a new work of an unprecedented scale for a 100 foot wall in the Hunter Center lobby at MASS MoCA.The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.

Initially conceived as a personal project on the walls of Sorrenti's New York loft, the material in Draw Blood for Proof eventually found its way onto gallery walls as a large - scale installation piece in 2004.