Sentences with phrase «sculptural practice by»

Andre began his sculptural practice by carving into wood timbers, but then he became more interested in using the timber planks themselves as structural pieces.

He subverts the conventions of modernist sculptural practice by creating small, eccentrically playful objects in decidedly humble materials.

Influenced by calligraphy, architecture, and poetry, he subverts the conventions of modernist sculptural practice by creating small, eccentrically playful objects in humble, fragile materials.

Not exact matches

The second nests these ideas about abstraction and the sculptural in an emphatically feminist argument, one that asserts that the production, display, and reception of such art has been shaped by the personhood of the artists who tended to practice it, and by the sexist social and institutional conditions those individuals faced under modernism.

Martineau organized Mapplethorpe's work by major categories — Floral Studies, the Sculptural Body, Portraits, Studio Practice — all of which are represented by pieces hung in the introductory gallery.

The Irreverent Object examines the subversive nature of sculptural practice employed by European artists from the 1960s through the 1980s.

«The attention to detail, historical accuracy and physical nature of Mike Nelson's sculptural practice guarantee that his new installation for the British Pavilion will be one of the most challenging solo presentations ever mounted in over 70 years of exhibitions organised by the British Council in Venice.»

Over the past six years there has been a shift in Salomone's sculptural practice, brought about by his commencing part - time work at a bronze foundry.

Characterized by reductive, geometric forms fabricated in raw industrial materials like Corten steel and aluminum, its ideal products represent an exploration of the essential nature of sculptural practice and experience, engaging viewers in a carefully organized phenomenology of volume, weight, mass and theatricalized viewing space.

The exhibition investigates this area of artistic practice by considering a variety of linguistic, conceptual, and sculptural approaches that artists have employed for scoring action.

Stepping aside from performance as a medium and the performative act of production, best characterised by Mota's studio - based compositions, her recent exhibition at the gallery, marks a major shift in the practice of the artist, materialising a new form of sculptural animism and a new agency, while shifting the instrumentalization of the performative into a series of coincidental and strictly conceptual acts.

The exhibition continues with works by: Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Marisa Merz, Senga Nengudi, Lygia Pape, and Ursula von Rydingsvard, a Post Modernist generation of increasingly global figures who are far more expansive in their use of space, and whose works signal a foundational shift from discreet sculptural objects toward more installation - based practices.

This group exhibition broadens the dialogue of contemporary painting practices by showcasing the ways in which formal considerations such as color, texture and composition are created with thread, fabric, clothing and sculptural manipulations of canvas.

Inspired by the radical politics of the late 1960's and frustrated by the limitations of art taught by the academics, he decided to embrace different, modern sculptural practices.

The University Museum of Contemporary Art is pleased to present an exhibition of digital prints, lithographs, and mixed - media maquettes by the Brooklyn - based artist Caitlin Cherry, who is known for her hybrid practice of painting and sculptural installation.

With the solo exhibition 100 Faces, Sundaram Tagore Gallery, Singapore, presents a new collection of paintings that are informed by her sculptural practices and techniques.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

The solo show is presented by David Nolan Gallery and includes works on paper and recent works from Kendrick's sculptural practice.

Terrain Exhibitions and the Chicago Artists Coalition are proud to present I Am Conscious, I Am Love: Mother's Reflection, an installation by Amina Ross, which features sculptural works that explore legacy, inheritance, and femme - folk practices.

This emptiness is only partly occupied by a little extra space, more a sculptural space than a room defined by a work that continues and alternates the older lamp practice of the artist.

Organized in collaboration with Art + Practice, a Los Angeles - based art and service organization, and co-curated by the BMA's Dorothy Wagner Wallis Director Christopher Bedford and Assistant Curator of Contemporary Art Cecilia Wichmann, the show is built around eight photographs, three sculptural installations, and a video compilation of performance excerpts.

Though represented by powerful NYC gallerist Jack Tilton, his recent exhibition «Rag Man» at Leimert Park's Art + Practice (in partnership with the Hammer Museum and curator Anne Ellegood, and slated to travel to the Aspen Art Museum later this year) was the first proper Los Angeles solo show focusing on Outterbridge's recent works, those made since 2000, in his most recognizable style of intimately - scaled sculptural assemblage.

The collection also reflects distinctive contemporary sculptural practices, including works by Roxy Paine, Cameron Gainer, Mel Kendrick, Ai Wei Wei, and more.

will feature a collection of significant sculptural and framed works by the artist and will look at how and why words and phrases have continued to reappear in Orensanz» conceptual practice.

Her work falls within a tradition of «rayographs», or photograms, established by artists such as Man Ray, and Laszlo Moholy - Nagy, in the 1920's, artists whose work in photography was informed by their painting and sculptural practice.

By placing her work in conversation with both the human body and the landscapes around and beneath us, Hendry's sculptural practice offers clever, fresh perspectives on the field of sculpture.

Richard Serra has described his sculptural practice as being grounded in drawing: Drawing as «cut» represents the division of a sheet by a line — and, in turn, of actual space by the edge of a steel plate.

Over the years she has developed a distinct choreographic practice involved with the relation of the body to the image, defined by sculptural physicality and extended duration.

Taking vast, remote landscapes and the ephemeral conditions of nature as their sculptural canvas, these and other artists staged their own protest by rejecting traditional sculptural forms and practices, rigid modernist theory and the commercial confines of the museum - and - gallery system to create frequently massive land art works that heightened awareness of our relationship with the earth and challenged accepted definitions of art.

Born César Baldaccini in 1921 in Marseille, France, César achieved recognition for a sculptural practice propelled by his ceaseless fascination with the inherent properties of materials.

Referencing a quote by Beat Generation poet William S. Burroughs, When You Cut into the Present the Future Leaks Out echoes approaches attributed to cut - up poetry, early hip hop, spoken word, and the sculptural practice of artist Gordon Matta - Clark, who sliced into urban spaces as social commentary.

In her own practice, she continues her 15 year dialogue with clay, by making functional and sculptural pieces in the medium.

As director, mirroring his sculptural practice, Beloufa works primarily as an editor, constructing scenarios that allow for chance and improvisation to circumvent a set narrative, questioning authority by eliminating his dominant role and awarding agency to actors or materials.

She brings in miniature sculptural elements alongside her painting practice: In her piece Housefly, a painting on wasli is surrounded by tiny glass bottles filled with varnish and covered in cloth.

The exhibition continues with works by Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Marisa Merz, Senga Nengudi, Lygia Pape, and Ursula von Rydingsvard — a Post-Modernist generation of increasingly global figures who are far more expansive in their use of space, and whose works signal a foundational shift from discreet sculptural objects toward more installation - based practices.

DO N'T @ ME represents an art practice based on the combination of paintings, sculptural objects and internet memes by Pastiche Lumumba and features work by Nandi Loaf, Zach Fox and Jenson Leonard.

The edition is in keeping with her sculptural practice, which strips their supposed functionality and deflect our familiarity with an object coded by domesticity.

Born in Washington, D.C., Puryear is based in Hudson Valley, N.Y. Over the past half century, he has established a unique sculptural practice utilizing traditional craft, carpentry, and boat building skills to create modernist abstract works that are inspired by nature and draw on a range of cultures, histories and motifs.

Open to the public and free to attend, this unique exhibition on Old Brompton Road will showcase the diversity of contemporary sculptural practice with works by some of the Society's most exciting early career artists.

The sculptural works in the show reference farming practices and consider the framework by which the economic concept of the law of diminishing returns was founded and explained.

Velocity, of course, is also contingent upon kinetic factors such as mass and displacement, and it is this inherently sculptural aspect of Ohtake's practice which is often overshadowed by the more easily recognizable imagery of his media sampling.

And instead she discussed the fascinating processes by which she created each work that Weitman flashed on the screen: her prints as well as how she cannibalized forms from her printmaking and transformed them into her sculptural practice.»

Secunda has developed a studio practice using paint in a sculptural manner, rejecting the limitations imposed by the canvas.

Recently she has explained that she had begun to feel trapped by her sculptural practice which relied increasingly on outside fabrication and yearned to return to a more private process thus dedicating herself to works on canvas.

Space out 17 November The worlds of photography and sculptural practice are meeting head on in the site - specific installation «Not the Actual Site», by Dutch photographic artist Marleen Sleeuwit at LhGWR in The Hague this weekend.

The exhibition continues with works by Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Marisa Merz, Senga Nengudi, Lygia Pape, and Ursula von Rydingsvard — a Post Modernist generation of increasingly global figures who are far more expansive in their use of space, and whose works signal a foundational shift from discreet sculptural objects toward more installation - based practices.