Sentences with phrase «social sculptures in»

For Please Touch the Art, the artist has installed three forms of social sculptures in Brooklyn Bridge Park: Appearing Rooms, a systematically shifting architectural space formed by jets of water; Mirror Labyrinth NY, a site - specific installation of mirror - polished stainless steel that reflects and distorts the distinctive skyline of lower Manhattan; and sixteen bright red Modified Social Benches, alterations upon the familiar outdoor park bench, which actively engage visitors» perceptions of public space with their curious curves and undulations.

I did a series of performance works — social sculptures in the streets — I called «Arguments.»

At Documenta, seeing your Fairytale (2007) and looking at your blog, increasingly I came to think that your blog is actually a social sculpture in a Joseph Beuys kind of sense.

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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.

He developed a radical art concept of «Social Sculpture», as he explains clearly in his selected quotes.

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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.

Whether it's posting «works in progress» on social media, updating my blog or website, or crocheting elements for a series of miniature sculptures I'm currently working on... I do something.

As far as painting specifically is concerned, Mrs. Ellis finds that it has one immediate advantage for the young lady over its rival branch of artistic activity, music — it is quiet and disturbs no one (this negative virtue, of course, would not be true of sculpture, but accomplishment with the hammer and chisel simply never occurs as a suitable accomplishment for the weaker sex); in addition, says Mrs. Ellis, «it [drawing] is an employment which beguiles the mind of many cares... Drawing is, of all other occupations, the one most calculated to keep the mind from brooding upon self, and to maintain that general cheerfulness which is a part of social and domestic duty... It can also,» she adds, «be laid down and resumed, as circumstance or inclination may direct, and that without any serious loss.»

Artwork ranges from drawing, photography, sculpture, installations, film and video to performance and social practice taking place in both urban and rural landscapes, and include works that are narrative, political, performative, and conceptual examples of contemporary art.

Blending the personal with the political, McMillian has worked in a range of mediums and materials, including sculpture, painting, video, performance, and immersive environments, to explore themes of class, gender, race, social history, and culture.

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.

Encompassing some 100 works in painting, sculpture, video, and installation, «The Everywhere Studio» presents over 50 artists from the past five decades to reveal the artist's studio as a charged site that has both predicted and responded to broader social and economic changes of our time.

The artist's slumpies series of ergonomic sculptures are designed for this contemporary moment in which physical posture, and thereby social engagement, are ontologically inseparable from increased technology use.

Reinvigorating traditional images and forms with social justice themes, her critically acclaimed statue, Memorial To A Marriage, 2002, a three - ton Carrara marble mortuary sculpture of Cronin and her life partner was made before gay marriage was legal in the U.S., and has been exhibited widely across the country and abroad.

Artwork in the exhibition ranges in medium from drawing, photography, sculpture, installations, film, and video to performance and social practice taking place in both urban and rural landscapes.

Objects, storytelling, and sound function as a social sculpture explored in duration.

The artist conceived and re-conceived the exhibition in his Los Angeles studio, eventually presenting paintings, sculptures and video the reflect his individual voice, collapse the division between artist and ordinary people, and emphasize his belief in the social and cultural influence of art, particularly in this historic, political moment.

She received a BA in psychology from The New School for Social Research, a BFA in sculpture from Parsons The New School For Design, New York, and an MFA from the Yale University School of Art, New Haven, CT..

Since receiving his BFA from the School of the Museum of Fine Arts in 1998, Los Angeles — based artist Jedediah Caesar has gained international recognition for sculptures that amass found materials into systems that reveal new patterns, often abstract, sometime social.

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 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 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

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.

Artists working in all mediums (including — but not limited to — video and film, new media, installation, painting, social practice, sculpture and performance), as well as curators, are encouraged to submit exhibition proposals.

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.

In this complex scenario, Teresa Margolles deals with material fragments of buildings, transporting them across borders and reassembling them remotely in large format sculptures, as a call to read these traces as part of larger processes, events and social relations, such as migration, international drug trade, or human traffickinIn this complex scenario, Teresa Margolles deals with material fragments of buildings, transporting them across borders and reassembling them remotely in large format sculptures, as a call to read these traces as part of larger processes, events and social relations, such as migration, international drug trade, or human traffickinin large format sculptures, as a call to read these traces as part of larger processes, events and social relations, such as migration, international drug trade, or human trafficking.

Presented in tandem with his monumental outdoor sculpture Playboy Marfa, which will be installed outside Dallas Contemporary, Phillips's first U.S. solo museum exhibition will feature both past and new works that emphasize his career - long exploration of political and social identity, consumerism, eroticized desire and social constructs.

Widespread criticism of his work Abortion in 1965 encouraged Hanson to formulate his social and political views as sculptures.

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.

David Ireland (1930 - 2009) was an artist and architect whose best - known work is his own house at 500 Capp Street in San Francisco — at once an environmental artwork, social sculpture, and his residence for 30 years.

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.

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.

Dan Tague, who has worked in photography, sculpture and installation with tart renderings of political themes, is currently developing a multi-media room - scaled environmental installation based on his memory of ninth grade social studies class.

The exhibition will feature Welty's major works in drawing, sculpture, collage, installation, video, photography, and social media.

24/7 will include Perry's major works in drawing, sculpture, collage, installation, video, photography, and social media - some of which has been created specifically for this exhibition.

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.

While he is well - known for works featuring his own social milieu — often depicting parties, portraits of friends and fellow artists, and, perhaps most notably, his wife Ada, who has been his model and muse for decades — the landscape of Maine, which he first encountered as a resident at the prestigious Skowhegan School of Painting and Sculpture in 1949 - 50, has been a central point of reference throughout his career.

Goldner's installations include steel sculptures, video, photography and sound combining poetry, patterns, forms and African themes that engage in social discourse.

It's thanks to Nasher Sculpture Center director Jeremy Strick, who visited Chalet Hollywood several times over the course of its run, that Golia's social structure comes to Dallas this month, to explore a problem LA and Dallas have in common; how do you create a sense of community in a city which has so many both natural and self - imposed silos?

Yet while the official art - historical narrative of that generation — Basbaum's peers include Beatriz Milhazes, Leonilson and Barrão, who came of age during the emergence of Brazilian democracy — highlights an almost postpolitical identity in which art is primarily a mode of self - expression as opposed to a form of social consciousness, Basbaum's sculptures, drawings, photographs and actions see the artist tie self - affirmation to the notion of the (still) political subject.

In the past he has paired them with the better - known sculptures that resemble human forms, creating a visual dialog between the two, and suggestive of the lived relationship that occurs through social interaction.

This interest in the body informs what the viewer sees in the sculptures at the Nasher in that the works occupy space in a social context, becoming bodies in themselves.

Working in ceramics, sculpture, video, installation, and social practice, Simone Leigh (b. 1967, Chicago) examines the construction of black female subjectivity and economies of preservation and exchange.

This sculpture (which was shown in Edinburgh's Fruitmarket Gallery in 2002 and at Tate Britain in 2004) became a type of symbol for the social process of the public art project.

Their relationships to social, political and philosophical expressions of feminism are as diverse as their work in sculpture, painting, drawing, video, installation, collage, assemblage and the wearable — yet all six directly consider the literal and allegorical ways in which the female body occupies both physical and semantic space in the modern world.

Known for his innovative adaptions of traditional Haitian iconography, which he engages in order to address contemporary social and political conditions, Duval - Carrié is presenting a series of large - scale paintings and sculptures.

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.

The bringing to light of a processual artistic activity, such as Morris called for in his theoretical texts Notes on Sculpture, Part 1 - 4 (1966 - 69) and Anti-Form (1968), likewise addresses the social context of production and labor, a perspective which is also to be seen against the background of the institutional criticism of Concept Art as well as the social expectations during the 1970s with regard to art production.

In 1940, this largely self - taught artist began teaching sculpture at the New School for Social Research, a position he held until 1965.