Sentences with phrase «sculptural practices in»

The artists invited to participate in Nasher XChange — Lara Almarcegui, Good / Bad Art Collective, Rachel Harrison, Alfredo Jaar, Liz Larner, Charles Long, Rick Lowe, Vicki Meek, Ruben Ochoa, and Ugo Rondinone — represent a range of sculptural practices in contemporary sculpture locally, nationally, and internationally.

Although she merges her photographic and sculptural practices in immersive installations, she conspicuously transfers the qualities of materials such as fabric and marble sculpture, into photography, and in the process offer a new, and specifically intermedial, way of framing the past.

Future Eaters presents a range of Australian and international artists working with sculptural practices in the technological age.

Future Eaters presents a range of contemporary Australian and international artists working with sculptural practices in our present technological age.

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.

While Walter de Maria (1935 - 1913) established his sculptural practice in New York during the heyday of Minimalism in the 1960s, his work quickly superseded all traditional boundaries of sculpture as he established himself as a pioneer who would have equal influence on Minimalism, Installation art, Land Art and Conceptualism.

Curator Christian Dominguez notes, «Hudson is one of the few contemporary sculptors of his generation capable of redefining traditional sculpture... his works mainly consist of an efficient mechanism conceived to revise the present time of occidental sculptural practice in its long tradition [as] generator of beauty, and in a more specific way, essentiality.»

Illustrating the revolutionary influence of Arte Povera upon sculptural practice in America and Europe at this time, the exhibition highlighted a rejection of sophisticated methods of construction and traditional materials.

Not exact matches

Nonetheless, her oeuvre played a critical role in heralding the advent of Minimalism, influencing, among others, Eva Hesse's sculptural practice and Sol LeWitt's wall drawings.

The use of photography in his sculptural practice has naturally led to the inclusion of video.

Many of the artists share Deschenes» interest in architecture and the sculptural potential of photography — either creating an image of three - dimensional space, such as the work of Kalpakjian, or with the incorporation of sculpture into their practice, as in the works of both Tonsfeldt and VanDerBeek.

Seven hundred years of sculptural practice — from fourteenth - century Europe to the global present — are examined anew in this groundbreaking exhibition.

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.

Barlow's sculptural practice is grounded in an anti-monumental tradition and is concerned with the relationship between objects and the space that surrounds them.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

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.

The raised platform — a recurring sculptural form within Belerique's practice — takes centre stage in «The Weather Channel».

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.

In her artistic practice, recent works include the large - scale sculptural installations Raked at Spencer Brownstone Gallery in New York (2014), and Floor / Ceiling at The Aldrich Contemporary Art Museum, Connecticut (2013In her artistic practice, recent works include the large - scale sculptural installations Raked at Spencer Brownstone Gallery in New York (2014), and Floor / Ceiling at The Aldrich Contemporary Art Museum, Connecticut (2013in New York (2014), and Floor / Ceiling at The Aldrich Contemporary Art Museum, Connecticut (2013).

His drawings are explorations in their own right, integral to the overall concerns of his sculptural practice, and unique intuitive explorations within their own established criteria.

In a conversation with film director, Brian Redondo, artist Doreen Garner shares the motivation driving her sculptural practice: to educate viewers about suppressed racist histories embedded in the foundations of a nation built on slaverIn a conversation with film director, Brian Redondo, artist Doreen Garner shares the motivation driving her sculptural practice: to educate viewers about suppressed racist histories embedded in the foundations of a nation built on slaverin the foundations of a nation built on slavery.

Donovan's work is grounded in a detail - oriented practice of true transformation through sculptural composition.

Since Katrib joined SculptureCenter's curatorial team in 2012, her program has served as a launching pad for countless artists working across sculptural practices.

This understanding of sculptural language and a preoccupation with forms in space, translated into two - dimensional images, underpins her pictorial practice.

«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.»

The legacy of Last Ladder was the emergence of a sculptural practice far more focused on the ability of material itself to convey meaning and message to the viewer, and the highly streamlined and minimalist approach to form evident in Andre's later work.

On view at The Met Breuer now seven hundred years of sculptural practice — from 14th - century Europe to the global present — examined anew in the groundbreaking exhibition Like Life: Sculpture, Color, and the Body (1300 — Now).

Exemplifying a strong resurgence in material practices across the UK, the three artists produce sculptural works exhibiting precise languages of process, material or contextual manipulation.

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.

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.

These artworks mark a reorientation of the photograph in the artist's practice from a supplementary sculptural object to the site of sculpture itself.

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.

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

This will be the first showing of the artist's works in vinyl in the United States, a body of work that complements his established sculptural practice.

Beginning in the 1980s, Beckley underwent a period of introspection and experimentation, branching into painting and reexamining his practice of sculptural constructions.

In this new body of work, Israel continues his sculptural practice -LSB-...]

In a large - scale piece called Cupboard V, Leigh incorporates dance, improvisation, and music into her sculptural practice.

His essay «Specific Objects, first published in the summer of 1965, constitutes a radical redefinition of sculptural practice, and remains central to the analysis of the new art developed in the early / mid - 1960 s.

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.

Her practice is based in the photo / video realm, exploring the sculptural possibilities each holds.

Four graphite drawings, each mirroring the appearance of a pier, hang alongside York's sculptural works, strengthening the ties between drawing and sculpture in her practice.

«Future Proof» developed from Murray's initial sculptural practice of crafting asymmetrically shaped canvases that would interact with the paint, shown in «Mystery of Light».

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 breatIn 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 breatin which three vocalists whistle at a four - billion - year - old rock; and a sound work based on recordings of breath.

At A+P, McMillian, whose artistic practice embodies a wide range of media and techniques, will discuss how he manipulates a multitude of materials, including those found in his everyday life, to create striking sculptural works, paintings, and videos that challenge the relationships between language, aesthetics and content.

The curators discussed issues of material specificity and spatial concerns in contemporary painting practices, and examined the work of cutting edge artists whose work ignites a dialogue about sculptural and installation forms of painting.

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.

In his broader practice, the Dubai - born contemporary artist works with digital video, painting, sculptural installation, computer software programs, and print, to test the complexities of cultural identity.

What inspires you most about the use of ceramics in your sculptural practice?

His work is included in con / struct: Celebrating Queensland Sculpture which features eleven artists that represent the scope and depth of contemporary sculpture across Queensland and who have a sustained practice working in the sculptural realm.