Sentences with phrase «shaped wall works»

Beeswax, ostrich eggs, body bags, foam, aerospace materials and clothes are assembled in anthropomorphic sculptures that contrast with rectangular - shaped wall works.

In the late 1960s he went on to produce his signature lozenge - shaped wall works and highly reflective «bubble» pieces, which appeared to possess an internal glow.

While Cory Arcangel issues instructions to Photoshop to create his Gradient pieces («Blue, Red, Yellow», mousedown y = 5750 x = 8250 and so on) in the manner of a 1970s conceptual artist, the Los Angeles - based Michael Rey populates his shaped wall works with a flattened layer of carefully hand - modeled, painted plasticine ground: «The choice of this material began as an experiment,» says Rey, «but continues to reflect my personal anxieties about finitude.»

Not exact matches

Tony Bond, EVP, chief innovation officer at Great Place to Work, points out the power that this level of camaraderie has to shape how a business is viewed both inside and outside its walls.

The Wall Street Journal noted that in Minnesota the same «harsh climate and hard - core work ethic» that shaped sturdy brands has prompted a rebranding effort.

Doing this pose with your back against a wall gives you a chance to feel the shape without much of the challenge of balancing, allowing you to work on the proper alignment and the muscle actions in the legs, hips, back, and shoulders.

This uses a triangular shaped flag, that might be used for bunting - it could be displayed as bunting on a maths working wall once completed!

Using QR codes and AR, math teachers can connect to tutorials, make their word wall interactive, share student work, explore 3D shapes, and update old textbooks.

When Ray said up in the canyon Luz had seen porticos and candelabra, artisanal tiles, a working bath with a dolphin - shaped spigot patinaed turquoise and matching starfish handles, birds» nests in chandeliers, bougainvillea creeping down marble columns and dripping from those curlicue shelves on the walls of villas — what were they called?

One of the most intriguing techniques that Jojo incorporates into his work as an artist is a water - pressure - inflation technique, which he uses to shape metals into one - of - a-kind pieces of art, including wall sculptures, chairs, coffee tables, and other pieces of furniture.

Although a better understanding of Oh's work would be a comparison with Richard Tuttle's early career, which smacked of formalism (the shaped canvas pinned to the wall, bent wires with false shadows) but in the end were completely intuitive.

Exploring the possibilities of punctured shapes, and the relationships between painted surface, drawing, and the wall, Mangold's new works are a continuation of ideas explored in Pace's 2014 exhibition Robert Mangold.

This is not, however, to say that there is no visible progression in Poliakoff's work, for the series of four canvases on the main wall, each titled Composition abstraite (1968) and each linked by a recurring claw - like shape, are undoubtedly the most accomplished of the show.

Highlights from Michelle Grabner's crowd - pleasing selection include Dawoud Bey's presidential portrait photography (Barack Obama, 2008), Karl Haendel's Theme Time Drawings, pencil drawings of various subjects arranged in shaped frames across a massive section of wall, and works by Donelle Woolford, the fictional young black female artist «created» by Joe Scanlan and played by various actors whose Joke Painting (detumescence)(2013) investigates the notion of authenticity.

In an effort to liberate her works from the Euclidian space of wall and floor, Grosse also incorporates into her multidimensional paintings a variety of unexpected objects, including beds, clothes, balloons, shaped canvases, and soil.

Like my modular / installation works of 1968 these new modular shapes again use the negative background wall space but -LSB-...]

A major influence on Pop Art, Minimalism, hard - edge and color field painting, Ellsworth Kelly's best - known works are distinguished by sharply delineated shapes flatly painted in vivid color, such as Colors for a Large Wall (1951).

However, unlike other artists who utilize shaped canvases, Novros» work emphasizes the critical meeting point of the canvas and wall, as if his paintings are extensions of the walls themselves.

For your degree show from the Royal College of Art last year, you bravely chose to exhibit your work in the art school's café area, filling it with bespoke tables, chairs and shelving units containing other textile, ceramic and wood objects as well as house plants poking out of a decoratively shaped hole in the wall.

This exhibition marks Wynne's most ambitious gallery show featuring his now iconic glass wall sculptures in the shape of waves, vortexes, and underwater exhale bubbles and text works including a new series using black glass.

As an important aspect of the works, the metal grommets imply the possibility of mounting the felt pieces onto the wall which Morris realized in pocket - or diamond - shaped folds.

«Kelly's visual vocabulary is drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows on a wall or a lake — and has been shaped by his interest in the spaces between places and objects and between his work and its viewers.

Due to decisions out - scaling the studio, her materials rested simultaneously on the floor and walls as she worked, forcing a certain relinquishing of control and allowing an alchemy between pigment and substrate to form and shape her compositions.

In this exhibition, large - scale floor sculptures and wall - mounted works made over the course of four decades attest to the seemingly infinite variations of shape and color that Chamberlain explored throughout his career.

The less than reliable curatorial voice from Powhida's future proposes an authoritative account of our present and near future through institutional forms — wall texts, videos, an exhibition catalogue, as well as fictional works of art, speculative drawings, and research - based diagrams, that point to the ways exhibitions shape and reflect histories.

For a new series of wall - based works, enlarged scans of halftone book reproductions are printed onto sheets of aluminum that are then cut into shapes — arcs, sticks, curves — and layered in informal compositions within deep - set frames.

I decided to draw on the walls with only black and gray and silver to not only echo some of the marks and shapes found throughout the hanging works, but to contrast the vibrant color inherent in the works.

The works, vibrant in color, are cut, bent and welded into shapes and wall reliefs.

«A single facet or canvas may have its own color, or the shadow across it may serve as color -LRB-...) Sometimes the color solely belongs to the edge of a work, or so it seems, until one notices that Hinman has painted the back -LRB-...) He is not just shaping an object, but also taking it out from the wall.»

Pioneering fiber artist Sheila Hicks blurs the boundary between painting and sculpture with her vibrant woven and textile works, which she creates in many shapes and sizes, from wall mountings that mimic the format of painting to suspended pieces that hang from ceiling to floor like textured columns.

The additional works on view at RISD range from grids of Polaroid photographs from the Secrets series (1974 — 75), a large fan - shaped wall piece from the Peacock series (1979), and a group of large paper Vessel Lamps (2009), as well as pieces rendered in clay and glass and the five - piece Phantom installation.

In Collective Conversation, four works spanning 50 years explore architecture, geometry, solid form, and fleeting gesture, such as Dan Flavin's work composed almost entirely of light; Keith Sonnier's juxtaposition of solid shapes and fragile neon; Dorothea Rockburne's wall installation combining folded canvas and drawing; and Mel Kendrick's experimentation with structure and texture through the medium of pulp paper.

After several years assembling hanging installations of two - sided figurative paintings, Mastrangelo has recently returned to wall - mounted work in a series of impressive figurative collages made by adhering shapes of brightly patterned fabrics to fiberglass scrim with acrylic binders.

Comprised of rusted sheets of steel and chosen objects, the works — vibrant in color — are cut, bent, and welded into shapes and wall reliefs.

Harnischfeger's wall - mounted works, in which she paints, builds up and carves out layers of paper and plaster to a deliberate but rough - hewn effect, or shapes hunks of clay and plaster into freeform objects, resemble fantastical topographical maps, odd geological formations, or fragmented, expressive portraits.

Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» wall sculpture and the use of «painterliness» in regard to the interaction of color...

On the other hand, photographs which emphasize materiality, as much of Heinecken's work did, force the viewer to address not only the narrative subject but the means and matter comprising the photograph, its matte or glossy surface, its sharp or fuzzy or grainless texture, its relative size and shape, how it is put on the wall, if it's even on the wall.

Blinn Jacobs is represented by Fred Giampietro Gallery, New Haven, CT Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» wall sculptu...

GORDON MATTA - CLARK: ANARCHITECT The Cornell - trained architect and downtown Pied Piper, who produced a wide and exciting range of work before his untimely death of cancer at 35, made some of his early «cuts,» sections of wall and floor cut right out of usually derelict buildings in ornamental shapes, in the Bronx; this large show emphasizes gestures» political critique.

While his first shaped canvases were determined by the silhouette of a single depicted object, as in the Smoker series, later works such as Nude with Lamp are shaped according to their own logic, rather than that of the painted image, utilizing the blank space of the bare wall behind.

Blinn Jacobs is represented by Fred Giampietro Gallery, New Haven, CT Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» wall sculptur...

Soaring midair on a mobile platform inside an unused Harlem church, she has been working and reworking two towering paintings taking shape on opposite walls, a monumental commission for the San Francisco Museum of Modern Art.

Highlights of the exhibition include mixed - media works from his Great American Nude and Still Life series» of the 1960s, shaped «Smoker» and «Bedroom Painting» canvases from the 1970s and «80s and his inventive cut - aluminum wall works and later «Sunset Nude» paintings, which paid homage to artists that Mr. Wesselmann admired.

LeWitt is best known for his large - scale «Wall Drawings,» rigorous arrays of designs, shapes, grids, and colors rendered in pencil and paint in coherence with strict instructions and diagrams to be followed in executing the work.

Since 1965, LeWitt has been extensively collected and exhibited by a number of major museums and galleries, with collections and exhibitions covering over 1,100 works ranging from works on paper, to wall drawings, photography, and 3D installations made from geometric shapes.

They may be guarding Davina Semo's tiny work, black silicone bronze buried in the white wall in the shape of a diamond.

While the resulting art work retains some of the design elements present in the initial drawing, the slicing, dicing, and reconstruction process gives it waves of parabolic shape that warp its surface away from the wall.

In thinking about rules as acts of creation I have been recently drawn into a reinvestigation of logic based works such as Frank Stella's black paintings (in which the logic of the making fully embodies the resulting shape), Sol LeWitt's wall drawings (in terms of setting up a series of rules that can create a coherent visual structure), and incremental works such as Carl Andre's floor pieces (which also embody an element of time and distance because one is required to «travel» in order to view the entire work).

If it were, Wall Street would be in much better shape today, and the Advertising world would be every bit as cool a place to work as it ought to be.

By cutting what he calls «crummy materials» such as wire, plywood, and cloth into small, sad, irregular shapes and insinuating them into walls or attaching them just above the floor or below the ceiling, he creates works of great deliberation but negligible craft, impossible to apprehend apart from their surrounding environments.