Sentences with phrase «social sculpture by»

Her recent curatorial projects also include Crossroad: A Social Sculpture by the New York - based artist Derrick Adams and, in 2015, Power of People, Power of Place by the Los Angeles - based collective Fallen Fruit.

Some decades later, Joseph Beuys would articulate his concept of social sculpture by saying, «Without the rose, we can not do it.»

The list of fair attractions continues with the boozy social sculptures by the Brazilian art collective OPAVIVARÁ!

Not exact matches

LOCATION * AtlantaGeorgiaBostonChicagoDallasLas VegasLos AngelesPhiladelphiaSeattleWashington DC VENUE * Georgia: Georgia AquariumAtlanta: Center for Civil and Human RightsAtlanta: The TabernacleAtlanta: Your Atlanta LocationBoston: Museum of ScienceChicago: Gleacher Conference CenterDallas: Your Dallas LocationDallas: AT&T Performing Arts CenterDallas: Nasher Sculpture CenterDallas: Union StationDallas: Reunion TowerDallas: Perot Museum of Nature and ScienceDallas: Five Sixty By Wolfgang PuckDallas: Verizon Theatre at Grand PrairieLas Vegas: Your Las Vegas LocationLos Angeles: Your Los Angeles LocationLos Angeles: City Market Social HouseLos Angeles: L.A. LIVELos Angeles: Conga RoomLos Angeles: El Rey TheatreLos Angeles: Hollywood and HighlandLos Angeles: NBC UniversalLos Angeles: Pacific Design CenterLos Angeles: Rose BowlLos Angeles: Sony Pictures StudiosLos Angeles: Greystone Mansion & ParkLos Angeles: Microsoft Theatre L.A. LiveLos Angeles: The NOVO by MicrosoftPhiladelphia: The Fillmore PhiladelphiaPhiladelphia: Tower TheatreSeattle: Your Seattle LocationSeattle: Museum of POP CultureWashington DC: NewseumWashington DC: The Sunset Room by Wolfgang PuBy Wolfgang PuckDallas: Verizon Theatre at Grand PrairieLas Vegas: Your Las Vegas LocationLos Angeles: Your Los Angeles LocationLos Angeles: City Market Social HouseLos Angeles: L.A. LIVELos Angeles: Conga RoomLos Angeles: El Rey TheatreLos Angeles: Hollywood and HighlandLos Angeles: NBC UniversalLos Angeles: Pacific Design CenterLos Angeles: Rose BowlLos Angeles: Sony Pictures StudiosLos Angeles: Greystone Mansion & ParkLos Angeles: Microsoft Theatre L.A. LiveLos Angeles: The NOVO by MicrosoftPhiladelphia: The Fillmore PhiladelphiaPhiladelphia: Tower TheatreSeattle: Your Seattle LocationSeattle: Museum of POP CultureWashington DC: NewseumWashington DC: The Sunset Room by Wolfgang Puby MicrosoftPhiladelphia: The Fillmore PhiladelphiaPhiladelphia: Tower TheatreSeattle: Your Seattle LocationSeattle: Museum of POP CultureWashington DC: NewseumWashington DC: The Sunset Room by Wolfgang Puby Wolfgang Puck

The travels of the wireframe Evoques has been documented by Range Rover on local social media sites and blogs accompanied by stunning imagery of the sculptures.

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.

2009 The Embassy, Curated by Xerxes Cook and Alex Dellal, 33 Portland Place, London, UK Artists» Art / Artists» Books, Glenn Horowitz Bookseller, East Hampton, NY Elevator to the Gallows, Galerie im Regierungsviertel / Forgotten Bar Project, Berlin, Germany Story without a Name, Curated by Blair Taylor, Peres Projects, Berlin, GermanyPrivate, Con Der Hydt Museum, Wuppertal, Germany The Collectors, Curated by Elmgreen and Dragset, Danish and Nordic Pavillions, 53rd Venice Biennale, Venice, Italy Onedreamrush, Beijing Independent Film Forum, Beijing, China DLA Piper Series: This is Sculpture, Tate Liverpool, Liverpool, UK Mexico: Expected / Unexpected, Tenerife Espacio de Las Artes, Santa Cruz de Tenerif Imagine, There: Three Contemporary Mythologies, A Space Gallery, Toronto, Canada The Porn Identity, Kunsthalle Wien, Wien, Germany The Temptation to Exist: Douglas Gordon, Any Warhol, On Kawara, terence koh, Yvon Lambert Gallery, London, UK KKK: Featuring terence koh, Jeff koons, and Mike Kelley, Mary Boone Gallery, New York, NY A Tribute to Ron Warren, Mary Boone Gallery, New York, NY New York Minute, Macro Future Museum, Rome, Italy Objective Affection, Boffo, Brooklyn, NY Dancing with Rodin, The Brooklyn Museum, Brooklyn, NY Tompkins Square Park Procession, Tompkins Square Park, New York, NY Art History 1642 - 2009, National Arts Club, New York, NY Performa 09, Third Biennial of Visual Art Performace, New York, NY Degeneration / Regeneration, Marina Abramovic Institute, San Fransico, CA Compassion, Curated by AA Bronson, The Institute of Art, Religion and Social Justice, New York, NY Contemporary Artifices and Baroque Difformities, Arcos - Sannio Museum of Contemporary Art, Benevuto, Italy Marina Abramovic Presents..., The Whitworth Art Gallery at the Universtiy of Manchester, UK Get a Rope, Ctrl Gallery, Houston, TX

His grand metal sculptures and large - scale narrative paintings are informed by popular iconography of political, social and historical realities, cultural myths and the Candi reliefs at Sukuh Temple.

Indonesian artist, Entang Wiharso's grand metal sculpture, Double Happiness # 2 (2013), is informed by popular iconography of political, social and historical realities, and cultural myths.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

This exposure to the elemental forces and landscapes during my early childhood, and the fact that I am now passionate about putting work by the sea — the reasons for that are both an increasing interest in the social responsibility of sculpture, but also an interest to connect to those things that I experienced very young that made me feel more alive.

Curated by Sarah Lowndes, author of Social Sculpture: The Rise of the Glasgow Art Scene, for the Mackintosh Museum, the exhibition that runs till 30 September 2012 presents artworks and documentation of women artists in Glasgow from the late 1930s.

New to the fair was a sector called Survey, bringing gravitas with a deliberately digital - free zone that called on 13 galleries to present tightly curated historical projects — the standout, New York artist Alison Knowles's The Boat Book, 2014, eight 8ft - high, wood - framed movable pages covered with images described by her dealer, James Fuentes, as «seminal social sculpture» that is «read» by crawling through it.

1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong, New York A Drawing Show, Cable Gallery, New York Hover Culture, Metro Pictures, New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue) New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)

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.

The reimagined Wade Thompson Drill Hall allows for social gatherings and is activated by «chase,» a multi-colored, 100 - foot - long mylar sculpture that glides across the dance floor.

We'll look back into the past and contemplate the future of civil rights and social justice and explore the connections between history and contemporary art by examining the legacy of President Johnson and visiting The Contemporary Austin's rooftop sculpture With Liberty and Justice for All (A Work in Progress) by artist Jim Hodges.

His prints, videos, sculptures, and performances challenge established social norms by giving visibility to the cultural outsider.

Originally staged at the Queens Museum of Art, Reyes's Hammer Project will include a group of sculptures — including Drone Dove and Colloquium — and several paintings on Tyvek that graphically portray political, social, and environmental issues being faced by our world today.

Simone Leigh's sculpture, as well as her recent social practice — related work, such as The Free People's Medical Clinic (2014) and The Waiting Room (2016), locates experiential activities geared toward communities of color within museums and art galleries, which are sometimes viewed as elitist by the general public.

The choreography of these sculptures is accompanied by a pulsating sound track and text statements, collaged from celebrated male authors, which collapse the distinctions between art objects and social history artefacts, and the strange and compulsive desires of consumerism.

Of course, the rise of black - owned spaces has impact far beyond the market, and many prominent non-profit spaces, such as Rick Lowe's Houston - based Project Row Houses and artist Mark Bradford's Los Angeles - based Art + Practice, are positioned as «social sculpture,» an expanded concept of art coined by the German Fluxus artist Joseph Beuys, who sought to use art to address societal issues.

The engagement with postmodern dance gave rise to a significant constant within his sculptural works: The investigation of an inclusion of the viewer which focuses on the temporal perception of sculpture by means of bodily movement through space, and which furthermore directs the view from the institutional space out onto social aspects in the real world.

Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter «Dave Drake»; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation.

Soon afterwards, Salcedo earned an MA in 1984 at New York University, where she was influenced by the work of Joseph Beuys and his ideas about «social sculpture.»

Facets of the Figure is a thought provoking survey of the various aesthetic interpretations of the human form in painting and sculpture by juxtaposing museum - caliber works by Surrealists, realists, Expressionists, modernists, social realists, and abstract expressionists.

In This Hello America... engages both the physical and social architecture of Bard College by re-envisioning the cultural space produced by Sasson Soffer's public art sculpture Hello America (1980), located near the campus center.

Designed by the artists to include a site - specific sculpture on FLAG Art Foundation's outdoor terrace, overlooking the Hudson River, the show addresses existential issues linked to identity, sexuality, and mortality, as well as an examination of social value systems and the expectations that surround them.

As the survey «John Chamberlain: Choices,» curated by Susan Davidson and recently opened at the Solomon R. Guggenheim Museum in New York, demonstrates, Chamberlain deployed all of these materials with an exuberance, acuity, and openness to sculpture's social valences that was to influence generations of artists.

The project is led by Gina Minielli Gunkel, a professional social documentary photographer (SPQ class of 2016), and Nancy Bruno, a NYC public school teacher and ceramic sculpture artist (Queens College MFA class of 2017).

Exploring themes of agency, politics and perspective, and responding to content within the fair itself, this year's Talks program features Claudia Rankine, 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen, as well as a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective and featuring artists Tania Bruguera, Anri Sala and Jeanne van Heeswijk; and a conversation on «complicating the Modern» from Ann Temkin, Marie - Josée and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

His sculpture, drawing, installation and provocative live - action works were matched in their intensity only by his voracious social politics — which heavily influenced his work.

[24] He culled objects from nearly every department of the museum, including religious paintings, many depictions of nudes, social satire and some erotica; among the selected works, therew were sculptures by Auguste Rodin of lesbians embracing, and furniture from the Bauhaus, the avant - garde German design school closed down by the Nazis.

Also on view in the Project Room are Simón Vega: Sub-Tropical Social Sculptures and Ron Terada's public art commission Art on the Move, curated by Dominic Molon.

Intrigued by the philosophy of «the impermanence of things,» she uses video, installation and sculpture to question social systems, the meaning of civilisation and the decline of society.

In Rodriguez's first New York museum show, and similarly to how a 2013 exhibition took its cues from La Collectionneuse, a 1967 film related to art by Éric Rohmer, her new work The Maid takes a cinematic approach to sculpture, considering «the conditional relationships between artist, artwork, and third - party agents (institution, caregiver, surrogate) in familial terms»: the evolved social dynamics of the artworld, and the laws that underpin them.

Exploring these themes, this year's Frieze Talks features Claudia Rankine — 2016 MacArthur Fellow and winner of the 2017 Bobbitt National Poetry Prize for her collection Citizen: An American Lyric — discussing her writing and her newly - founded Racial Imaginary Institute; a panel on art and social commitment chaired by Shuddhabrata Sengupta of Raqs Media Collective (curators of the 11th Shanghai Biennial, «Why Not Ask Again») and featuring artists Tania Bruguera, Anri Sala and — ahead of her major project with Philadelphia Museum — Jeanne van Heeswijk; and a conversation on «complicating the Modern» with Ann Temkin, Marie - Jose ́e and Henry Kravis Chief Curator of Painting and Sculpture at MoMA.

Additional works in the exhibition include Thirty - eight works by Andy Warhol, four bronze sculptures depicting figures who are part human, animal and machine by William Kentridge illustrating social and political life in South Africa; and Olafur Eliasson's Fivefold Sphere Projection Lamp which compels us to view ourselves in relation to space as well as time.

The Schoolhouse and the Bus: Mobility, Pedagogy, and Engagement, an exhibition pairing, for the first time, work by two leading artists of the social practice movement, Pablo Helguera and Suzanne Lacy, is comprised of installation, collage, sculpture, ephemera, photography, video, as well as archival documentation.

Beatrice Glow Queens, NY From left to right: Floating Library, October 2014, interactive social sculpture, one - month library aboard a ship (174 ft by 32 ft).

Exhibitions feature an international roster of emerging and mid-career artists working in a range of media, including painting, photography, sculpture, installation, and performance, who are connected by their focus on political, social, and environmental issues of national and global concern.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

In a recent work of what he calls social sculpture, the New York artist Ivan Monforte revisits the Whitney Museum's famously political 1993 biennial, with a specific reference to Daniel J. Martinez's contribution to that show: museum admission tags printed with single words that, seen side by side, spelled out, «I can't imagine ever wanting to be white.»

Nicholas Cohn Art Projects is pleased to present Art and Social Activism, a group exhibition featuring an international roster of artists working in a range of media, from painting and sculpture to video and performance, connected by their focus on social issues of national and global coSocial Activism, a group exhibition featuring an international roster of artists working in a range of media, from painting and sculpture to video and performance, connected by their focus on social issues of national and global cosocial issues of national and global concern.

[4] Inspired by the concept / model of Joseph Beuys social sculpture, that have the potential to transform society, ART / MEDIA was an extended artwork that included human interactions, creating structures and systems within society using language, thought, objects, events and actions.

Dad displays recent work by Danish artist Jakob S. Boeskov, who uses filmmaking, drawing, sculpture, and performance to expose complex social issues such as male behavior, war, politics, biotechnology, and globalization.

Intensely physical, textured, immense paintings and sculptures by this formidable Los Angeles abstract artist weave together themes of social injustice, the mysteries of the oceans, and cartography.

Besides his sculptures and paintings, he has photographs and videos that directly get in touch with the city and space transforming the social structure by delaminating its layers.

Works variously informed by social and political questioning, countercultural histories, the deconstruction of media and art history images include sculpture by Eva Rothschild and installations by Alan Phelan and Garrett Phelan for whom political and ecological activism is central.

The fourth element — the ethereal futurism, is emphasised by works of Recycle Group with their installation comprising of several polyurethane rubber cast sculptures with icons of social media, Do Ho Suh's Specimen series made of polyester fabric, Shan Hur's sculptures made of bronze and Peter Alexander's urethane sculptures underpinning the California light and space movement.