Sentences with phrase «sculptural forms of interest»

The shape of a nose, the curve of a lip are sculptural forms of interest, but they are not identity.

Not exact matches

Although Hunt was not interested in pursuing an early and brief involvement with earthworks, he wanted to include the concept of monumental scale in his work, «using a more classical, compact kind of sculptural form» (View, 1980).

Part of the curator's interest here is in the relationship between text and sculptural objects and the manners in which a written text can be unraveled structurally and what this deconstructed form allows to be seen.

His repeated minimal palette correlates to his obsessive interest in line and form, drawing, and monochromatic and tonal values, while developing a complex language of pictorial and sculptural signs.

«Du Paquier was an original voice of a very different set of colors — very exuberant forms — with much more interest in sculptural decoration and a real sense of whimsy,» said Ian Wardropper, the Frick's director.

The exhibition will feature the latest works in Cragg's career - long pursuit of his interest in developing specific groups of sculptural themes and forms.

The artworks in this exhibition reflect Jonathan's interest in the (in) stability of sculptural forms and in particular the emergence of firstly, a new form that has no formal antecedents (e.g. Groundless Grid 2017,» 88» 2014); secondly a new form produced by the reformation of a pre-existing form (e.g. Folded Door 2007 - 15, Ideograms 2017); thirdly, a new form produced by memory images of pre-existing form (e.g. Marble Mattress 2014) and fourthly, a new form produced on the surface of a pre-existing form (e.g. Machine Gestures 2015).

But the show is meant to illustrate the artists» common interest in pushing the boundaries of sculptural tradition and exploring the essential elements of form.

Using cultural matter as his material - medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.

Her sculptural work made of woven metal strings are informed by her childhood memories and combine her interest in the relationship between human and non-human form with spatial strategies that straddle Tith's domestic sphere with the public arena.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

(Kelly and Wood, 2013, p169) They also draw a parallel with Joseph Beuys: «For Joseph Beuys, honey and wax were symbolic sculptural materials... [He] once stated that what interested him about bees and their hive was «the total heat organisation of such an organism, and the sculpturally finished forms within this organisation».»

With works dating from 1975 to 1988, the exhibition «Poetic Form» focuses on John Chamberlain's mid-career return to the use of car metal as a sculptural material, as well as his long - term interest in vibrant, colorful expression in 2 and 3 dimensions.

SCAD Atlanta presents «Squash and Stretch,» an exhibition by Lauren Clay (B.F.A. painting), who employs a variety of paper art and decorative painting techniques including papier - mâché, faux wood grain and marbleized paper to create environments that display her interest in melding painting and sculptural forms.

Lauren Clay employs a variety of paper art and decorative painting techniques to create environments that display her interest in melding painting and sculptural forms.

The sculptural aspects of Watts» canvases are more interesting when isolated from the expanses of ochre stucco and loose snake forms.

These works - colourful geometric grids consisting of rows of repetitive organic shapes - served as a two - dimensional step towards understanding sculptural forms, and heralded his growing interest in sculpture proper.

The ridges of the wooden armature, visible through the canvas, add sculptural contrast to Sperling's interest in flatness — of color, of form.

Flanagan was interested in «pataphysics, Alfred Jarry's «science of imaginary solutions» and this ethos is evident in the playfulness of his approach, which allows materials to find their own sculptural form, whether sand, or rope, stone, sheet metal, cloth, clay or bronze.

Meerdo is interested in analysing large sums of data in order to reduce this information down to sculptural forms and installations.

Works by Iran Do Espírito Santo, one of Brazil's key contemporary artists, reveal his interest in industrial and everyday sculptural forms distilled down to their very essence.

It features the latest works in Cragg's career - long pursuit of his interest in developing specific groups of sculptural themes and forms.