Sentences with phrase «sculptures in dialogue»

The exhibition will feature an environment of paintings and sculptures in dialogue with each other, exploring dimensional and pictorial space.

She installed an arrangement of her sculptures in dialogue with works by Carlo Scarpa, as she had previously done on a larger scale for the 2014 traveling exhibition Carol Bove / Carlo Scarpa.

Using industrial or everyday materials Sonnier and his contemporaries including Lynda Benglis, Mary Heilmann, Eva Hesse, Bruce Nauman, and Richard Serra produced art works that demonstrated the quality of the materials used, and often presented these sculptures in dialogue with both the space in which they were shown and with the human body.

A pair of exhibitions at Kavi Gupta gallery places the artist's paintings and sculptures in dialogue with arrangements of objects from his personal collections.

OUTLOOKS: ELAINE CAMERON - WEIR, THE SIXTH INSTALLATION OF THE ANNUAL OUTLOOKS EXHIBITION SERIES, OPENS MAY 19, 2018 For Outlooks, Elaine Cameron - Weir presents a 20 - Foot Spherical Sculpture in Dialogue with Aspects of Storm King's History

Her inaugural outing with the new mega-gallery was a solo exhibition at Frieze New York in May, where she introduced sculpture in dialogue with her paintings.

Not exact matches

The friends discuss sex, shrinks, psychedelics, sculpture, and S and M in an ongoing dialogue where anything goes and no topic is off limits.

Hamilton, NJ About Blog The ISC seeks to expand public understanding and appreciation of sculpture internationally, demonstrate the power of sculpture to educate, effect social change, engage artists and arts professionals in a dialogue to advance the art form.

Hamilton, NJ About Blog The ISC seeks to expand public understanding and appreciation of sculpture internationally, demonstrate the power of sculpture to educate, effect social change, engage artists and arts professionals in a dialogue to advance the art form.

Talk: Huey Copeland and Michelle Kuo at Artists Space Part of the Artists Space «Dialogues» series, this event brings together Huey Copeland, associate professor of art history at Northwestern University, and Michelle Kuo, a curator of painting and sculpture at the Museum of Modern Art in New York and the former editor of Artforum.

Presenting approximately 60 sculptures, paintings and works on paper in dialogue with one another, these shows highlight the varied formal, social and political concerns that informed the significant series — neither of which were actually named «Constellations» by the artists themselves.

He explores sculpture in terms of an ongoing dialogue of actions and reactions between viewers and objects in any given exhibition space.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

Piri Halasz, From the Mayor's Doorstep http://www.pirihalasz.com/blog.htm?post=907117 Nancy Keefe Rhodes Exhibition Catalogue Limestone Art Gallery, 2010 Karen Wilkin «Extreme Possibilities: New Modernist Paradigms» The Painting Center 2009 Katherine Rushworth, «The Call of Canastota» Central New York Magazine, May / June 2009 Sonja Freidman, «Susan Roth» La Palabra Isrealita, Santiago, Chile 2009 Clement Greenberg, «Interview with Clement Greenberg, (reprinted from, Susan Roth, A Minotaur Production: video Reader's Digest Foundation, 1988)», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 J. R. Hughto «The Mirror Eye» documentary video 2005 Allen M. Jones «The Prescience of a Cranky Critic» L.A. Times 2004 Donald Kuspit, «A Critic's Collection», ArtNet, 2001 Karen Wilkin, «Clement Greenberg: a critical eye», Clement Greenberg, a critic's collection, Princeton Univ..

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

2013 Vanderbilt University, Nashville, TN EXPO CHICAGO, SAIC sponsored / Dialogues: Sanford Biggers, Elysia Borowy - Reeder and José Lerma in conversation with Richard Holland and Duncan MacKenzie, Chicago, IL Afropunk's The Triptych screening panel, Philadelphia Museum of Art, Philadelphia, PA Columbia University Visiting Artist Lecture Series, New York, NY Sanford Biggers, Everard Findley & Marcus Samuelsson in conversation, moderated by Thelma Golden, Neuehouse, New York, NY The Verbier 3 - D Residency and Sculpture Park, Verbier, Switzerland Bermuda National Gallery, Hamilton, Bermuda Now Dig This!

There are two sculptures on the roof, and they are in dialogue with each other — they could be comrades, or one being summoned by the other.

In this new body of work consisting of sculptures, works on paper, and video, Ward articulates a dialogue surrounding the idea of support — physical, spiritual, social, and judicial — while introducing contemplation of everyday objects.

Construction of both the museum building and the sculpture park was initiated by the Selvaag Gruppen and Aspelin Ramm, and during the exhibition period the outdoor and indoor areas will engage in a close dialogue with each other.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

I make sculptures and paintings which evolve in dialogue with the films and performances I make.

His work has been reviewed in Sculpture Magazine, Art Papers and Dialogue.

Tomaszewski begins with video of visitors walking in the sculpture garden and recontextualizes it as part of a projected generative drawing in the gallery, and Schlei creates an outdoor multi-channel sound piece in dialogue with Tony Smith's The Wandering Rocks (1967 - 1969).

Why not show one of Ruscha's pared - down paintings of buildings and signs, or establish an intelligent dialogue between photography and sculpture by including sculptors like Richard Long and Hamish Fulton in whose work photography plays a vital role?

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Bringing together almost two decades of sculpture, film, drawings, large - scale installations and photography, Emily Jacir: Europa focuses on Jacir's dialogue with Europe, Italy and the Mediterranean in particular.

These sculptures were often presented in dialogue with both the space in which they were shown and with the human body.

Cropper and Morris create sculptures designed to engage viewers in a dialogue with the piece and its environment.

The exhibition presents contemporary work in dialogue with historical objects from the collections of the Seattle Art Museum and the Brooklyn Museum within an immersive and lively installation of video, digital, sound, and installation art, as well as photography and sculpture.

As with Ducker's installation series Dark Matter Flowers (2013 - 4) the new works open up a dialogue between mute Modernist sculpture and a fantasy future locked in a pre CGI past.

The Lynden Sculpture Garden opened to the public in May 2010, and by choosing Inside / Outside as our inaugural theme, we hoped to initiate a dialogue between the new indoor gallery and the environment — both sculpture and nature — beyond its walls; to explore Lynden's transition from a private, domestic space to a public space; and to define Lynden's new position within the art cSculpture Garden opened to the public in May 2010, and by choosing Inside / Outside as our inaugural theme, we hoped to initiate a dialogue between the new indoor gallery and the environment — both sculpture and nature — beyond its walls; to explore Lynden's transition from a private, domestic space to a public space; and to define Lynden's new position within the art csculpture and nature — beyond its walls; to explore Lynden's transition from a private, domestic space to a public space; and to define Lynden's new position within the art community.

Born in Moscow, Russia in 1979, Parkina's collages and sculptures are a dialogue between the past and the present, highlighting social and political contradictions between the Communist past and the capitalist present of Russia.

The artists develop an intrinsic dialogue that reverses charges and blurs boundaries: in this dialogue, trees become pillars, and sculptures, living beings.

Born in California, 1977 Lives and works in New York City EDUCATION 2007 - 2009 MFA, Columbia University 1995 - 1999 BFA, Rhode Island School of Design EXHIBITIONS 2011 Andrea Rosen Gallery, New York, NY, «A Thousand & One Nights,» March 18 — April 23 2010 Laurel Gitlen, New York, NY, «In Here,» July 9 — August 13 Museum 52, New York, NY, «Preconceived Iconography,» Apr 7 — May 9 2009 Andrea Rosen Gallery, New York, NY, «The Perpetual Dialogue,» December 12 — January 23, 2010 SculptureCenter, Long Island City, NY, «In Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for Arin California, 1977 Lives and works in New York City EDUCATION 2007 - 2009 MFA, Columbia University 1995 - 1999 BFA, Rhode Island School of Design EXHIBITIONS 2011 Andrea Rosen Gallery, New York, NY, «A Thousand & One Nights,» March 18 — April 23 2010 Laurel Gitlen, New York, NY, «In Here,» July 9 — August 13 Museum 52, New York, NY, «Preconceived Iconography,» Apr 7 — May 9 2009 Andrea Rosen Gallery, New York, NY, «The Perpetual Dialogue,» December 12 — January 23, 2010 SculptureCenter, Long Island City, NY, «In Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for Arin New York City EDUCATION 2007 - 2009 MFA, Columbia University 1995 - 1999 BFA, Rhode Island School of Design EXHIBITIONS 2011 Andrea Rosen Gallery, New York, NY, «A Thousand & One Nights,» March 18 — April 23 2010 Laurel Gitlen, New York, NY, «In Here,» July 9 — August 13 Museum 52, New York, NY, «Preconceived Iconography,» Apr 7 — May 9 2009 Andrea Rosen Gallery, New York, NY, «The Perpetual Dialogue,» December 12 — January 23, 2010 SculptureCenter, Long Island City, NY, «In Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for ArIn Here,» July 9 — August 13 Museum 52, New York, NY, «Preconceived Iconography,» Apr 7 — May 9 2009 Andrea Rosen Gallery, New York, NY, «The Perpetual Dialogue,» December 12 — January 23, 2010 SculptureCenter, Long Island City, NY, «In Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for ArIn Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for Art.

The artist, whose work is both in dialogue with and enigmatically outside of the Pop tradition, always starts with drawings and then builds them into sculptures, which carries over into the final piece a satisfying 2 - D quality — as if Simpson were drawing in space, like the disembodied cartoonist's hand in a Chuck Jones short.

The sculptures reflect the sincere desires embedded in the larger project: peace, open dialogue, and an end to violence.

Select group exhibitions featuring her work include Regarding Spirituality, The Nelson - Atkins Museum of Art, Kansas City, KS (2018, forthcoming); Phantom Bodies: The Human Aura in Art, John and Mable Ringling Museum of Art, Sarasota, FL (2016); Reductive Minimalism: Women Artists in Dialogue, 1960 - 2012, University of Michigan Museum of Art, Ann Arbor, MI (2014); 50 Years of Collecting Islamic Art, Metropolitan Museum of Art, New York (2013); Summer Exhibition, Royal Academy of Arts, London (2012); Without Boundary: Seventeen Ways of Looking, The Museum of Modern Art, New York (2006); Happiness, Mori Art Museum, Tokyo (2003); and Thinking Big: Concepts for Twenty - First - Century British Sculpture, Peggy Guggenheim Collection, Venice (2002).

The third Calder Gallery at Fondation Beyeler has its focus on Alexander Calder's first nonobjective paintings in dialogue with his sculptures from the 1930s.

The site - specific exhibition, entitled «Sean Scully — San Cristóbal» features 15 recent paintings and three sculptures, installed in a bold yet poetic dialogue with the architecture of the estate.

From iconic photo series to early sculpture and large - scale installation, the works included in this presentation represent the foundations or conceptual departure points that have defined practices and broader dialogues in contemporary art since the 1990s.

Transplanted was made for the Sheldon Museum of Art, in Lincoln, Nebraska, which commissioned the artist to create a work to stand in dialogue with Isamu Noguchi's two - part granite and marble sculpture Song of the Bird (Bird Song)(1958), in the Sheldon's collection.

The twelve works on display by established and emerging artists build on a dialogue begun in previous years, developing a debate about art in public places and the condition of sculpture as an evolving conversation that proceeds by example, as an exchange of ideas between artists and artworks.»

Installation view of a wood and sand sculpture by Bayne Peterson (foreground) and a silkscreen by Graham McDougal (background) in «A Dialogue on Distortion» at PC - G's Hunt - Cavanagh Gallery.

Now, contemporary Santa Fe - based artist Susan York takes graphite to new heights in her drawings and cast - graphite sculpture, installed throughout the Museum in dialogue with O'Keeffe's paintings and drawings.

For this exhibition, Harrison will create a site - specific installation that consists of one of his homemade 3D printers, a series of clay 3D printed sculptures inspired by ritual and religious artifacts, and six acrylic benches which pay homage to Herman Miller» s Nelson bench and are in dialogue with the Woods Cathedral» s already existing pews.

Cherubini's work is indebted to an abiding engagement with clay itself and the core of her project resides in her ability to bring the medium's particular materiality, forms, and history to bear on the ongoing dialogue of painting and sculpture.

This initiates a compelling dialogue with the installation in the gallery's second space, in which further aluminium painting and sculpture pairings are interspersed with a group of figurative photographs of the sort of life - sized rubber dolls made for shop windows or medical experiments.

Dedicated to rigorous and challenging programming, EXPO CHICAGO hosts the / Dialogues panel series, featuring provocative artistic discourse with leading artists, curators, designers and arts professionals on the current issues that engage them; IN / SITU, featuring large - scale sculptures and site - specific works; EXPO VIDEO, highlighting a dynamic screening program for film, video and new media works; and more.

Emerging as two major new art forms in the 1960s, these movements are seen through a dialogue between painting, architecture, sculpture, and photography.

Three - dimensional depth map sculptures drawing on «the formal relationship of both the photographic negative and the binary relationship between cast and mould» will populate the site - specific networked installation, taking over the entire building and exploring «the mutability of symbolism held in form» in dialogue with its architecture.