Sentences with phrase «sculptural traditions of»

In his mature works he included references to the grand sculptural traditions of Western art, from Classicism to the Baroque.

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.

He employs the sculptural tradition of cast bronze while at the same time he interferes throughout the process at the mould in the foundry, often eliminating elements from the compositions.

Not exact matches

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

The culmination of a series of a collaborations with the Huni Kuin, a people native to Brazil and Peru, these new sculptural installations will draw on ritual and tradition.

Whilst Houseago's oeuvre can be seen as a continuation of a historical sculptural tradition, the unusual combinations of materials, the inclusion of references drawn from popular culture and the unusual interplay between two and three - dimensional elements, all challenge the hierarchy inherent within visual forms, and the materials and values associated with them.

The end product arises out of a sculptural tradition based on the creation of works of art influenced by religion and literature, but simultaneously reduced to a secret level of identification — an art historical lingua franca.

Like a three - dimensional drawing in space, the work echoes past sculptural traditions but is possessed of a materiality and robustness that is anything but historic.

This informal conversation between London - based artist Francis Upritchard and German - born jeweller Karl Fritsch will explore the artist's unique sculptural language and the multiplicity of artisan and craft traditions Upritchard has incorporated into her practice, including collaborations with UK fashion house Peter Pilotto, Karl Fritsch and Italian designer Martino Gamper.

The sculptural works of Lynda Benglis continued the tradition of Abstract Expressionism into the 1960s and 70s.

Villar Rojas, who is described by the Serpentine curators as being «on the brink of gaining international renown for his dramatic, large - scale sculptural works», 1 operates in the tradition of Merz and her fellow Arte Povera artists in focusing his work on clay and brick, but with a contemporary twist of conceptualism and site - specificity.

The Norton Simon Museum houses a world - renowned collection of art from South and Southeast Asia that includes examples of the rich sculptural and painting traditions that developed in this region over the course of more than 2,000 years.

His work, from early minimal objects to increasingly expansive and complex forms, has always dealt with such central issues of the sculptural tradition as size and scale, balance and imbalance, figuration and abstraction.

Filled with reproductions of Kehinde Wiley's bold, colorful, and monumental work, this book encompasses the artist's various series of paintings as well as his sculptural work — which boldly explore ideas about race, power, and tradition.

The painting is made with bleached paper that is scored and molded by hand to produce a sculptural surface, renewing the traditions of abstract and materialist painting for the 21st century.

Working in parallel to Western pictorial traditions of landscape, Clare uses precise combination artist - made and collected sculptural objects, photographic images, event and documentation as vehicles to re-access, re-experience, re-stage, identify, imagine.

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.

While being identifiably rooted in avant - garde tradition — notably inter-war constructivism and sculptural brutalism of the 1950s and»60s — Cincinnati was also undeniably new and distinctively Zaha.

Resolving the multiple meanings of this sculptural piece, it could be a metaphor for the human tragedy and the cycle of rebirth, but also indicates the strength of the Jewish tradition that has been threatened throughout history.

It also puts his creative side in touch with any number of sculptural traditions.

Surprisingly, though, the sculptural aspect of Diller's art has not been sufficiently examined and, as a result, there are misconceptions of Diller as a principally two dimensional artist following in the tradition of Piet Mondrian.

The museum has a world - renowned collection of art from South Asia and Southeast Asia, with examples of this region's sculptural and painting traditions.

Body imagery, the axis of sculptural and humanistic tradition, continues to shadow the work of New York artist Joel Shapiro.

There is no easy way to define Franz West's art: it is fundamentally sculptural in its construction, veers frequently toward the biomorphic and prosthetic, mines the intellectualism of Freud and Wittgenstein, and possesses an awkward beauty that speaks with equal fluency to the tradition of painterly abstraction and the aesthetics of trash art.

At the same time, these works can be placed in an ancient sculptural tradition because of the similarities with the classical portrait bust.

Eva follows the legacy of modernist sculptural tradition, in the line of leading female artists such as Barbara Hepworth and Eva Hesse.

From two or three found pieces of furniture, he creates sculptural hybrid chairs that muddle different design traditions and social histories into something colourful, heart - warming and completely new.

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.

In the tradition of Ana Mendieta and Joseph Beuys, these «live installations» were staged against the stark, urban backdrop of New York City, or in galleries, as part of sculptural ensembles with both natural and industrially fabricated components.

Having lived, studied and worked in the city of Bilbao for most of her life, the artist is part of the region's sculptural tradition, known for its horizontal collaborative dynamic linking different generations.

For his third exhibition with the gallery, Perrone presents two new bodies of work, both revolving around the appropriation of specific elements from sculptural and architectonic traditions.

This major traveling exhibition reveals the exceptional variety of Native artistic production, ranging from the ancient ivories and ingenious modern masks of the Arctic to the dramatic sculptural arts of the Pacific Northwest, the millennia - long tradition of abstract art in the Southwest, the refined basketry of California and the Great Basin, the famous beaded and painted works of the Plains, and the luminous styles of the Eastern Woodlands, including the Great Lakes.

Meanwhile, the early - 20th - century tradition of Brancusi's organic abstract forms was inventively exploited in midcentury by Henry Moore and Barbara Hepworth in England and by Jean Arp in France, while the Swiss Alberto Giacometti and the Italians Giacomo Manzù and Marino Marini each achieved a distinctive sculptural style.

This is evident in the understanding of the buildings as undressed cubic volumes of geometry, descendants from sculptural minimalism; also, in the exploration of color and their application in visual rhythmic structures that invokes the legacy of the pictorial constructivist tradition, but from a clear awareness of the use of the camera as a working tool.

Courtney Egan's projection - based sculptural installations weave traditions of botanical art with technology.

As a project that emerged from Buenfeld's curatorial residency with AIT last year, and her ongoing research, «At the still point of the turning world...» is a selection of works that proposes questions about sculptural and dynamic form with a particular focus on dance and ceramics - two craft traditions with a strong historical and contemporary presence in Japan.

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.

She has cast forms in plaster and jesmonite and arranged them so that they unavoidably reference a sculptural tradition that takes you from the abstraction of Anthony Caro, back towards the figure through Henry Moore and beyond him to classical sculpture.

Best known for her colossal sculptural projects, for more than five decades Barlow has employed a distinct vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create bold and expansive installations that confront the relationship between objects and the space that surrounds them, in an approach that is grounded in an anti-monumental tradition.

Her series titled Polygon in Space is inspired by movement, while the Origami one represents a proper sculptural reinterpretation of the paper - folding tradition of exquisite appearance and impact.

Avoiding the tradition of the rectangular photograph, she plays with the shapes which are determent by slicing in Photoshop or physically, continuing to further manipulate them via framing, installation and sculptural intervention.

Oddly luminous, finely detailed, 10 percent larger than life and carved by computer - driven machines in solid stainless steel, they form a beautifully spare arrangement and a cat's cradle of ricocheting ideas that both update and disrupt longstanding sculptural motifs, techniques and traditions.

The production of the objects employs specific sculptural traditions contrasted to the function and situation of their prototype.

Furthermore, it also echoes the post-Cubist sculptural tradition evinced in the bronze casts of Picasso, Boccioni, and Matisse.

She is credited with exhibiting the first show of abstract painting in the Arab world, in Beirut in 1947, though her greatest triumphs in the context of this show seem to be in her sculptural work and representational painting, with her charismatic self - portrait deftly breaching what the catalogue refers to as the traditions of «non-representational Middle Eastern art.»

In view of this, one can place similarly engaged works — like Trevor Paglen's South American (SAM - 1) NSA / GCHQ - Tapped Undersea Cable Atlantic Ocean (2015), a photograph of an undersea internet cable believed to be tapped by the United States» National Security Agency, or Cheyney Thompson's 88.35 Tungsten - 67.45 Cobalt - 45.36 Tin - 28.74 Nickel - 18.23 Iron - 82.29 Bismuth - 58.84 Aluminum - 41.32 Silicon - 24.11 Copper - 13.95 Chromium (2015), a gestural abstract painting made with the ten titular minerals, whose values anchor the worth of all other metals in financial markets — in a 20th - century sculptural tradition that otherwise might have seemed wholly irrelevant.

Through the medium of ceramic, described by Kristalova as having once been «seen as a low material, and not serious enough, especially when glazed,» the artist forms micro worlds with her sculptural figures and «relates to a sculpture tradition that has its roots several hundred years in the past.

Active since the mid-1980s, Apfelbaum's practice is notable for her use of found materials associated with craft traditions to create sculptural objects and sprawling, floor - based installations.

With awareness of how her floor - based installations draw from classic traditions of fine art, Apfelbaum defines staining and dyeing as an act of painting; cutting, a way of drawing in space; and assembling the cut pieces a sculptural practice.

Its wall mounting and portrait orientation ally the work with the tradition of painting, but its materials are highly sculptural.