Sentences with phrase «small sculptures placed»

This exhibition will present the works of six artists working internationally with, as the title would suggest, small sculptures placed along The High Line's pathway.

Not exact matches

We learn about Toronto activists who've drastically cut collision deaths by placing small markers on mirrored or clear - glass building surfaces that birds otherwise can't perceive; a fight between hunters and preservationists over the ortolan bunting, still a culinary delicacy despite its trapping being declared illegal in 1999; and monitors at a 9/11 memorial in New York, making sure that a temporary light sculpture doesn't confuse birds at the height of migration season.

Over the first four weeks of the semester, students engage in small projects in each of the four studios — painting and drawing, sculpture, printmaking, and new media — to gain familiarity with basic principles such as observation and place.

Part of an ongoing international art project, Mysterabbits are small meditating rabbit sculptures placed around the world to be found by anyone and everyone.

Rachel, The Pig Place Market Pig, 26 sculptures depicting Oregon Wildlife in downtown Portland's Pioneer Courthouse Square & in Cannon Beach, Tufted Puffins created for Cannon Beach.The artist has her own foundry creating some of the finest bronze sculpture of very small editions.

The show explores the spectrum of ideas between Kelly's rigorous investigation of color and shape in «Blue Black» and Mr. Ligon's own luminous meditation on racial violence, in a neon sculpture called «A Small Band,» placed at the center of the Pulitzer's main gallery.

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.

In addition, as Kusama notes in this letter to Judd dated June 26, 1974, she gifted Judd a small red sculpture that he placed in his library at La Mansana de Chinati / The Block in Marfa, Texas.

The «Cosm» sculptures are surrounded by a series of small paintings whose vertical format echoes the figurative character of the sculptures, placing the two distinct types of object in dialogue.

The gallery at Roche Court — a small glass box looking out onto an expansive sculpture park in the Wiltshire countryside — must be an inspiring and intimidating place to exhibit.

The small patch of Astoria waterfront provides a place to sunbathe, free movies, an active working space for sculptors, and a sculpture show each year.

This exhibition reveals the broad scale of Ross» work from the large, free - standing, colorful metal sculptures whose simple forms evoke the totemic monuments of an ancient world to the smaller lyrical wall reliefs composed of wood veneers that create a visual extravaganza when placed next to one another.»

In the catalogue accompanying the exhibition, art critic Donald Kuspit writes: «Carol Ross gives us two kinds of sculpture: large, free ‐ standing works, implicitly monumental, sometimes evocative of nature, sometimes figurative, and smaller wall pieces, sculptures as flat as the wall on which they are placed as though they were paintings.

Thus sculptures by Rodin, Picasso, Lipchitz, Moore, Judd, Oldenburg or Serra, just to name some from an impressive collection, are arranged in precise sloped framework of small terraces, neat footpaths lined with trees, carefully placed rocks, surfaces made in bare concrete, stone and water so creating a fascinating matrix of art, design and nature.

Works ranged from giant slabs of carved granite and models of dinosaur skeletons to photographs, canvases and the smallest of sculptures, subtly and unexpectedly placed throughout.

A sculpture comprised of a cut - out of a muscular, young Karl Largerfeld and a small pile of dried beans can be placed in the gallery in such a way that the object flattens, merging with the other assemblages in the room.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

In 300 objects it follows an artist who didn't so much abandon art as push it slowly, painstakingly and even logically — in small abstract paintings, wall pieces and flexible sculptures — to a place where objects and materials were meant to be handled and viewers became participants, alone or in groups.

There are also many newcomers to the show — Aki Sasamoto, a young Japanese - born artist who lives in Brooklyn, is creating an installation that will include large and small sculptures, sound, and a series of performances that will take place throughout the run of the Biennial.

Untitled: Silueta Series takes place at the opening of a small cavelike structure that Mendieta carved into her Silueta shape, anticipating her epic Rupestrian Sculptures made in Cuba three years later.

2006 «You call this Sculptcha» Compass, Carol Elliot, 10/06/06 «KInetic / Asthetic sculpture» Eu Jacksonville, Carol Elliot, 10/5/06 «Brothers Tummy» Folio weekly, Adam Diamond, 10/10/06 «Charming Combination of quality and quantity» Atlanta Journal - Constitution, Jerry Cullum, april 2006 «Lines of Descent» Paper City Magazine, Johnathan Lerner, 11/30/06 «Long Overdue» Folio Weekly, Shelton Hull, 1/3/06 «Going with the Flow» Home Magazine, Jill Kirchner Simpson, 10 2005 «Cabin Fervor» Atlanta Homes And Lifestyles, Tara n. Wilfong, june 2005 «Art in Freedom Park», Editor Evan Levy, 2005 «Activating Space» catalog Jacksonville Museum of Modern Art, 2005 «Cutting Edge Scuptural Installation» Arbus Magazine, May / june 2005 «Artist Creations Inspired by Grandmothers Quilts» Roswell Neighbor, Joan Durbin, 6/22/05 «Amerikanishes Gansemannlein» Nurnberg Plus, Julia Lehner, june, 17,2005 «Neus Lebensgefuhl im Alten Schloss» Nurnberg Extra, Bridgett Ruf, june, 24 2005 «Man Spurt Die Liebe Dahinter» Pegnitz Zeitung, Wilfred Appelt, June 24, 2005 «Activating Space» † Folio Weekly, Shelton Hull, april 2005 «Large Vision Small Works» Atlanta Journal - Constitution, Jerry Cullum, 11/30/03 «Birds of many Feathers» Atlanta Journal - Constitution, Catherine Fox, 09/23/03 «Art Goes Postal» Atlanta Journal - Constitution, Catherine Fox, 10/23/03 «Talk of The Town» Creative Loafing, Andisheh Nourraee, 6/24/03 «Our Place» Interview HGTV nov..

In addition to works on canvas, in a collection of small ceramic sculptures placed on a set of four steps, Li created an ambiguous symbolic hierarchy that combined representations of female faces and bodies with industrial and elemental forms.

The artist known for exploring the relationship between commerce and art, Claes Oldenburg placed a set of his miniature sculptures and an array of prints into a small suitcase much like the one a sales person would wear.

In a first, the show — which takes place in the midst of Rottenberg's solo show at the Rose Art Museum — is the first to also include small sculptures, which the gallery frames as «illuminat [ing] the sculptural integrity that has always been consistent with her oeuvre.»

Filliou's collection of humorous assemblages, drawings, and sculptures led to the foundation of his first gallery in 1961, which existed in the form of a hat in which he would place small artworks so that he could travel with both the space, and the works themselves.

New York / LA's Matthew Marks displayed three small, charming ceramic sculptures by Ron Nagle (Young Throng, 2016; Hardy Plank, 2014; and Exposed Prosthetic, 2016) on individual plinths placed around the booth, giving them plenty of room to breathe.

Featuring more than 60 of her most notable paintings, drawings, small sculptures, notebooks, and the diptychs for which she is best known, the exhibition traces her career over more than four decades and culminates with her recent paintings of monumental landscapes and Native places.

Tracy Emin proposes to place a sculpture of a small group of meerkats on the empty plinth as a symbol of unity and safety.