Not exact matches
Future Eaters presents a
range of contemporary Australian and international artists working with
sculptural practices in our present technological age.
Future Eaters presents a
range of Australian and international artists working with
sculptural practices in the technological age.
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 «Lynch Fragments» exemplify the extraordinary
range of Edwards»
sculptural practice, welding industrial found objects like hammers, chains and railroad spikes into new forms.
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.
In parallel to this we enhance the public's understanding and awareness of contemporary
sculptural practice both nationally and internationally through a
range of Public Programmes.
The Helen Chadwick Archive forms a part of the Henry Moore Institute Archive of Sculptors» Papers, which comprises over 260 collections containing a diverse
range of material relating to British
sculptural practice from the eighteenth century to the present day.
She soon developed a distinct
practice fusing sculpture and performance,
ranging from
sculptural costumes to latex and caoutchouc casts, the latter of which are shown in this exhibition.
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.
A whisper of a show, spare to the point of near - disappearance, Ann Veronica Janssens's recent exhibition at Bortolami — the Belgium - based artist's solo debut at the gallery, timed to coincide with the first American museum survey of her work, at the Nasher Sculpture Center in Dallas — provided a modest glimpse into her
range of
sculptural, spatial, and atmospheric concerns, and a sense of both the strengths and limitations of her
practice.