Sentences with phrase «small early sculptures»

It involves media ranging from small early sculptures and drawings to installations, murals, photography, and paintings.

Not exact matches

Small wonder most earlier global art forms, notwithstanding trials such as African Ife or Japanese Kamakura sculpture, declined it.

But the lackluster notes are tempered by cool weirdness: A Mai - Thu Perret rattan sculpture of a donkey; a suite of early - 20th - century drawings by Marguerite Burnat - Provins in which cats or swans play with disembodied human heads; and funky, small sculptures by David Hominal which place discrete objects — one of which looks a whole lot like a used crack pipe — atop painted metal cans.

This exhibition will include little - seen and significant early artworks, her arresting sloths, a selection of curious personal and ritualistic artefacts and talismans, small sculptures accompanied by their bespoke furniture supports, as well as recent life - size free - standing technicolour figures, such as Blue and Green Scarf 2013 and Sun Worship 2013 (pictured above), which blur the lines between the archaic and futuristic.

A colossal steel figure outside the museum entrance, Vater Staat (2010), observes visitors as they arrive, while the key work in the exhibition — the monumental bronze sculptures United Enemies (2011)-- originate in his small, sketchy figures with heads of modelling clay made nearly twenty years earlier.

Schwitters had an early escape, however on arrival to Britain we hardly shook his hand, instead we offered him refuge in return for 16 months in an internment camp; nevertheless this pushed Schwitters to create small scale sculptures that could be transported.

In the early 1960s, she began creating white and gold pieces, and enclosing her small sculptures in wooden boxes.

Lelong's smaller gallery room will feature an early inspiration for the Maypole sculpture, Kill Commies / Maypole (1967), alongside additional works on paper from The War Series, many of which have never been shown in New York.

Unlike its smaller counterpart, the carved wooden sculpture First Ladder 1958 — made by Andre in New York a year earlier and set into a wooden block to give it stability — Last Ladder does not have a base, but stands upright on its own, though somewhat unsteadily.

Biographies: Since the early 1980s, Eugene Carchesio has built a reputation for producing small - scale watercolours, minute sculptures and expansive geometric patterns for walls.

Smaller rooms in back hold other early sculpture along with modernist painting.

The artist's early collages, produced at a smaller size than most of her sculptures, provide important insight into her thinking and working process and the importance of wood in her work.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

In the gallery's rear room, a smaller and earlier jet - black glass chandelier, «Othello's Light» (2005), caps the exhibition's suite of ominously beautiful glowing glass sculptures.

In late May, the architect Daniel Libeskind spoke at the New York Gallery Luxembourg & Dayan where he collaborated with Daniella Luxembourg to curate an exhibition of thirteen small sculptural works by some of the giants of early twentieth century sculpture: Alberto Giacometti, Julio González Henri Laurens, Jacques Lipchitz, Henri Matisse, Jean Tinguely, and the less well - known German artist Rudolf Belling.

Deviating from traditional portraiture, Schütte was inspired to create diptychs such as this by a series of small polymer clay sculptures, which he produced in the early 1990s.

In the early 1990s, Bates moved on from the paintings and small reliefs of his earlier period and began to experiment with larger, more refined, and ambitious sculptures in bronze at foundries in Walla Walla, Washington, and Houston, Texas.

For his most recent exhibition, which ended last month at David Kordansky Gallery in Los Angeles, he presented found images, like a set of early headshots of the actor Anthony Perkins smiling while holding an armful of milk and juice cartons, as well as a set of charcoal drawings presented alongside small sculptures that looked like bed frames.

Now, for Creed's latest show, his works have remained just as conceptual, and his earlier smaller installations have progressed into a 41 ft by 8 ft sculpture, titled Mothers, which will be situated in the North Gallery at Hauser & Wirth.

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

Zarina: Paper Like Skin January 25 — April 21, 2013 This retrospective of Indian - born American artist Zarina Hashmi is the first major exploration of the master printmaker's career, charting a developmental arc from her work in the 1960s to the present and including many seminal works from the late 1960s and early 1970s, woodblock prints, etchings and lithographs, and a small selection of related sculptures in bronze and cast paper.

Joseph Beuys: Utopia at the Stag Monuments is seen through a retrospective lens; it includes masterpieces apart from Hirschdenkmäler (Stag Monuments), including Feldbett (Campaign Bed), 1982, Kleines Kraftwerk (Small Power Station), 1984, and Infiltration - homogen für Cello (Infiltration - homogenous for Cello), 1966 - 85, alongside early drawings, sculptures and extraordinary early photographs from the late 40s and early 50s.

VIERIA»S FIRST SOLO exhibition, in 2006 at Small A Projects in Portland, Ore., featured ink drawings that reference passages from 18th - century historical paintings by artists such as Hubert Robert, Platonic installation of geometric forms, paper tube sculptures resembling columns and striped works on paper evoking early versions of the American flag as allusions to the American revolution.

Taking models and small sculptures made from the 1950s to the early 1970s, it charts the development of her original sculptural idiom across a period of twenty years.

These include his 2001 «Shopkeeper Series,» simulacra of small business signs spelling out messages of quiet desperation in short word limits (like «SUE, I AM SORRY / PLEASE COME BACK» beneath a sign for «Jim & Susan's Motel»); several photographic portraits of real and fictional characters from the «Historical, Youth and Attribute Portraits» series from the early 1990s; as well as the now - iconic furniture sculpture Lum has been making since the late 1970s.

The new sculptures are accompanied by a small selection of important earlier sculptures, the earliest of which, entitled Specimen, from 1963, was included in Price's first museum exhibition, at the Los Angeles County Museum of Art.

University of Aberdeen: London: Small Research Grant, Dr Sally Foster, Multiplying Lives: Casting Light on the Modern Meanings and Values of Early Medieval Sculpture: Scottish Pilot Project, August 2014 - # 2,500

The steel sculptures have hard edges, seem precipitously balanced and, save for the occasional flourish like a small pom - pom, appear free of the familiar touch that one associates with Warren; however, many similarities bridge these works to her earlier sculptures.

Earlier, I made drawings and sculpture that were smaller scale, just because that was within my means and how much time I had working by myself.

That these efforts represent a fundamental departure in the artist's oeuvre becomes clear when they are compared to such earlier series as the «Epoxidharz,» 1992 (translucent sculptures made from epoxy), and «The Hat and Lamp Sculptures,» 1992 — 96 (objects that turn slowly on their axes with the aid of a small motor), sets of pieces that were all fabricated acsculptures made from epoxy), and «The Hat and Lamp Sculptures,» 1992 — 96 (objects that turn slowly on their axes with the aid of a small motor), sets of pieces that were all fabricated acSculptures,» 1992 — 96 (objects that turn slowly on their axes with the aid of a small motor), sets of pieces that were all fabricated according to

LONDON — On a sunny Saturday afternoon earlier this month, a young woman stood in a gallery at Tate Britain, running her fingertips over a small marble sculpture that represented — how to put this?

Presented in two concurrent parts (at Bard College's Center for Curatorial Studies [CCS], along with a two - work Manhattan component titled «Small Things,» installed in a Chelsea parking lot), the show featured a few early works — a pair of unassuming paintings, a modest brass sculpture, and an early neon — that give no hint of the raucousness to come.

From his earliest small - scale sculptures to his last monumental works, what Smith called — basic geometric form ‖ was a powerful touchstone for the artist.

Returning to the subject in the early 1980s, Bourgeois produced this small sculpture in carved marble, and later cast it in bronze.

Sculptures inside these vitrines playfully refer to Constantin Brancusi, and small paintings quote the early 20th - century German expressionist Bernhard Hoetger.

The catalogue also includes reproductions of all paintings and sculpture presented in the exhibition plus a small sampling of key Warhol drawings, prints, and photographs, as well as source photographs for iconic early works and portraits of the artist.

Kelley's work resonates much more comprehensibly as a gesamtkunstwerk, a totality of rather astonishing consistency ranging from his earliest bird house sculptures and performance artifacts of the late 1970s, still a graduate student at CalArts, to the terrifying beauty of the Kandors, small city models of the birthplace of Superman contained within glass bell jars attached by hoses to tanks of oxygen.

The artworks in the exhibition can be divided into different, though interlinked, sections regarding early studies, works with cow dung, smaller sculptures, large - scale installations and works on paper.

The smaller sculptures from this period, now being exhibited at Knoedler (to April 24) were all conceived int the same three - month period in the summer of 1969 and relate particularly to Hubris, Haole Crater, Arch and Dial, as well as to earlier works shown in Hartford and Philadelphia in 1966.