Sentences with phrase «sculptural practice makes»

Not exact matches

Harrod writes and makes work that employs traditional and contemporary craft and sculptural practices.

Thursday, Sept. 11, 2014 @ 7 — 9 p.m. KEVIN BEASLEY in Conversation at Studio Museum in Harlem New York Artist - in - Residence Kevin Beasley, whose works include sculptural installations made with found materials, discusses the development of his practice and experience at the museum with Lumi Tan, associate curator at The Kitchen.

Beginning with a drawing of a bird made on her foundation course in 1974, this chronological survey of Cornelia Parker's poetic, transformative and often explosive sculptural and installation - based practice focuses on the artist's own descriptions of her work.

Practicing an evolutionary approach to his art, Leonardo Drew is in a constant state of making and unmaking his large - scale sculptural assemblages.

Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto's renowned art - making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements.

Working on both large - scale installations and individual sculptural pieces, makes Johnson's practice unique among artists creating contemporary glass.

In their first show with the gallery since 2009, artist duo Jennifer Allora and Guillermo Calzadilla present a show focused on three works that represent the breadth of their collaborative multimedia practice and explore existential themes — a sculptural installation made from acrylic lecterns, dinosaur bones, and the remains of extinct species; a performance in which three vocalists whistle at a four - billion - year - old rock; and a sound work based on recordings of breath.

Sculptural work will retain a central place in his practice even to this day, preferring nature theme over man - made objects in his works.

Jackie Abrams has been a fiber artist for over 40 years, using and adapting well - practiced basket - making techniques to create exciting sculptural forms.

[1] It is therefore not much of a surprise that the solemn presence of her sculptural practice vastly rests on the simplicity and bareness of the materials of which the objects are made out of.

Within the architectural and programming context of Serralves, Gillick's exhibition as intervention will contribute to the Museum's aim of articulating new models for exhibition making that respond to the distinctive practices of artists in their sculptural, discursive and temporal dimensions.

Rhona makes sculptural objects and spatial environments combining sculpture, performance and processes of participation that explore a negotiation of object, place and social practice.

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.

He used photography to re-examine sculptural thinking, providing a catalyst for change in his broader object - making practice.

Part cabinet of curiosities, part ready - made surreal museum; Glassford's assemblage offers a unique speculative, formal and fictional detour informing his sculptural practice.

Thompson did not stop making art; text work, performative photographic pieces, objects and large - scale sculptural installations which were widely exhibited, but he did not return to painting until he retired from education and was able to devote himself to â $ the day - to - day involvement that a serious painting practice requiresâ $.

Lucy Skaer: her primary practice is in drawing, and she has recently started making sculptural work and installations.

Initially trained as a painter, since the 1990s Sheela Gowda has increasingly developed a sculptural and installation practice that explores how materials can make specific reference to the social and cultural context of India.

The resulting practice remains difficult to name and is quite distant to the academic sculptural traditions of the time, it links more to the vernacular traditions of making devotional objects in Podhale, the region of Poland where he lived.

So, even though the basis for his including fur and fat among his sculptural materials is rooted entirely in fiction, it made for a dynamic practice and lovely body of work, the multiples of which will be on view at the gallery.

The Domino Pitch works, which Ward has made over the course of more than twenty years, are a nod to his early lineage of drawing which he focused on before developing his sculptural practice.

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

In these new works the artist connects her sculptural practice to painting through mark - making, colour and light.

Marking the second three - dimensional work Bavington has ever created, «Louie Louie» is made entirely of water jet cut cast acrylic; transforming his traditionally two - dimensional painting practice into translucent sculptural form.

Taking from the minimalist sculptural practice, Brazilian Neo Concretism, Biomorphic architecture, and related local avant - garde movements, Neto chooses unusual materials, merging the external and internal structures and making the clear contrast between organic and artificial.

Hudson's practice involves sculptural assemblages made from various materials including traditional building stock and found objects, carefully composed in precarious, expressive or humorous ways.

While playing with the materiality of the metal, he made his pictorial practice reach a sculptural dimension.

In his multidisciplinary practice — from live performances involving embedded microphones in sculptures made of sneakers and foam and other electronic musical equipment to sculptural works of found objects (often his own) such as shredded hoodies, du - rags, and basketball jerseys — Kevin Beasley explores connections between the physical and aura, and personal memory and lived experience, with the broader issues of power, sexuality, gender, and race in urban America.

The Shape We're In (New York) features five artists who use sculptural practice to examine social interactions within man - made environments.

Al Taylor began his studio practice as a painter and although he is more widely known for the three - dimensional works he started making in 1985, the artist maintained that his constructions weren't «at all about sculptural concerns; [they come] from a flatter set of traditions.»