Sentences with phrase «sculpture draw upon»

These new sculptures draw upon the formal language of Minimalism and include floor works that are variations on a cube.

His installations and sculptures draw upon the language of the urban, built environment and the everyday poetic possibilities that oscillate around and within these places.

Not exact matches

As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.»

His paintings, drawings and sculptures were often classified as «California Funk,» a description foisted upon a group of West Coast artists who treated tradition with cheery disregard.

His sculptures and paintings — made of wood, metal, fiberglass, or cardboard; silk - screened or spray - painted; often neon - colored and sometimes wonderfully oversized — draw upon familiar forms to suggest another space - time.

Documenting, evoking and reflecting upon this key decade in black culture and history, «Circa 1970» presents paintings, drawings, prints, photographs and sculpture made between 1970 and 1979, all drawn from the Studio Museum's collection.

Drawing upon social - sculpture practice where other strategies have failed, Saro - Wiwa advances different ways of knowing about the Niger Delta and its global implications while prompting a reconsideration of the parameters of contemporary «Afropolitan» identities — a term coined in 2005 by writer Taiye Selasi to describe the transnational experience of a new generation of globally mobile Africans.

Since joining SFMOMA in 2012, Haskell has curated or co-curated nearly a dozen exhibitions drawing upon the museum's collection, including, most recently, the inaugural exhibitions Open Ended: Painting and Sculpture since 1900 (2016) and Alexander Calder: Motion Lab (2016).

Utilizing drawings, paintings, collages, photography, sculpture and participatory installations, Darkeem's practice often incorporates a craftwork sensibility that combines traditional with contemporary aesthetics, while drawing upon cultural and historical memory.

The artist draws freely upon the history of figurative sculpture, evoking Greek and Egyptian statuary, fertility icons, Rauschenberg's combines or the playfully sinister sculptural portraits of Marisol; indeed, the synthesis of science fiction, modernism and «pop» with the distant past underlies much of Bhabha's work as evidenced in her uncanny choice of materials.

For unlike Andre's floor sculptures, which are fashioned from the strictly impersonal logic of the grid, Steegmann Mangrané's are drawn, cut and organised according to a logic that not only defies the grid, but even immediate human understanding (although this particular perversion of the grid evolved from a drawing featured in the Morfogenesis — Cripsis presentation mentioned above), transforming it into something if not more natural, then less inclined to impose order at the expense of the natural, while casting doubt upon what we traditionally assume to be natural.

Bronstein draws upon London's Regency history and that of the ICA building for Sketches for Regency Living, using a wide range of media to explore his interest in architecture from performance and drawing to installation and sculpture.

These paintings, drawings, photographs, and sculptures form a scrapbook of New York City by a handful of the thousands upon thousands of artists who have lived and loved here.

The artist also incorporates sculpture, sound, photography, and video to create installations that further expand the space of painting and draw parallels upon interdependent physical and cognitive relationships.

His vision as a sculptor is based on observation and experience both in terms of ideas; drawn upon his early scientific background and his extensive knowledge of the history of cultural evolution, together with his visual and tactile ability to respond to the forms in his sculptures while in the process of making them.

LeWitt's sculptures, meanwhile, drew upon the grid to form spare geometric abstractions that stand in three dimensions — like an Agnes Martin painting that leapt off the canvas.

In constructing traps and lures, Rantanen explicates his interest in duplicitous objects; the sculptures are, in this respect, self - reflexive, drawing skeptical attention to their own status as artworks — a designation which, while superficially arbitrary, enacts an intrinsic transformation upon the cultural and monetary value of its subjects.

Comprised itself of braided elements — metal chains, ropes and rubber tubes — the sculpture plays with porous meaning, and draws upon the misnomer of the «French braid», an ancient hairstyle originating from North Africa, which was later denominated in nineteenth century America as a signifier of elegance and sophistication.

Golub, who always painted in a figural style, drew upon diverse representations of the body from ancient Greek and Roman sculpture, to photographs of athletic competitions, to gay pornography; often pulled directly from a huge database he assembled of journalistic images from the mass media.

From 2011 Paolo Canevari begins the «Monuments of the Memory» series; a research based upon the traditional mediums of painting, sculpture and drawing.

Didoardo's current body of work also marries the past and present drawing upon her years of working in sculpture and figurative painting to create intuitive manipulation of abstract space grounded in line.

Louise Bourgeois (1911 - 2010), known for her expansive work in sculpture, drawing and painting, also created print works that touched upon the motifs of the body, architecture and nature that absorbed her.

For over a decade, Bitzer has been experimenting with diverse combinations of sculpture, drawing, and painting to expand upon the discursive possibilities of various mediums, styles, and genres.

Sculpture, installation and sound, drawing, prints, and film draw upon references from political, social or art history to literature and film, poetry and music.

The exhibition brings together short films, drawings, photographs, ephemera, sculptures and installations where we see Franco draw upon childhood experiences including notions of identity, masculinity, sexuality and other essential life experiences and culminates in presenting a rejection of normative parenthood and suggesting alternative paradigms for parental relations.

Encompassing elements of sculpture, installation, drawing, performance and video, Tobias's practice partly relies upon the translation of scientific research methodologies to the processes of art making.

Not only were their costumes «body sculptures», but their live art drew upon the interplay between ideas of permanence and the ephemeral, between the body alive and in motion, frozen and stylized.

Dean, born 1977 in Newcastle upon Tyne, is one of the most acclaimed contemporary artists in Britain, working with sculpture, photography and drawing.

Upon moving around the piece, properties of drawing invade the sculpture and expose a kind of natural, organic form.

The sculpture, which is as much a print project as it is a sculpture, draws upon the mythology and quirkiness of different categories of roadside attraction, some more or less substantial, some more or less believable, all for the purpose of delighting and confounding the expectations of the browser and would - be tourist.

Best known for his assemblage sculptures made from stuffed children's toys, often set upon the «stage» of a homemade Afghan rug, Kelley draws upon the Modernist traditions of the found object and collage in his colourful, irreverent sculptures.

For this exhibition, Valdés has drawn upon nature, creating sculptures with inventive headdresses which float and wrap around and above monumental female heads.

Neo-conceptualists used irony and pastiche to subvert and comment upon structural issues of the time; they drew from Conceptual Art to create paintings and sculptures that operated as a set of pictorial signs referencing artists and moments in postwar art history.

[13] She later worked with Jonathan Horowitz on a series of monotypes which develop upon the concepts of plants and flowers as motifs of love and death, resulting in a series of paintings, prints, drawings, sculptures and photographs, as well as a collaborative artists book.

Fleisher / Ollman is pleased to present the group exhibition, Off Camera, a survey of photographic works which have been drawn or painted upon, animated, collaged or made into sculpture.

Her sculptures encourage circumambulation, often drawing upon Buddhist iconography for inspiration.

Lee will present an installation of sculptures, along with related drawings and maquettes that expand upon her continuing engagement with the fractured tropes and narratives of utopian modernity.