Sentences with phrase «stained glass objects»
Like the way lead functions in the creation of a stained glass object, formlines can be used to delineate a shape, though they are not limited to the role of «outline.»
http://www.blackmountaincollege.org/ Not exact matches
To look upon those prayer wheels not (as some of us were taught) as instruments of «vain repetition,» but as outward and visible signs of the intention to pray without ceasing, can perhaps lead iconoclasts to more compassionate reflection on the sacramental impulse and on the place of objects — statues and stained glass and candles and altar cloths, beads, bouquets, and kneeling cushions in needlepoint stitched by some faithful woman as her own act of participation in the prayers of the church.
Gluing cut pieces of colored paper together to form compositions, these «cut - outs» would serve not only as independent works but also as the basis for subsequent objects in a variety of other media, including ceramic, stained glass, textiles, and book design.
Smith draws inspiration from the history of decorative objects and the tradition of biblical storytelling through the form of stained glass in architecture.
Medieval objects include: architectural fragments, mainly from the Old Palace of Westminster (acquired after the 1834 fire), tiles and stained glass.
In this period, he still continued to work with stained glass and started designing furniture and objects of utility.
The loan exhibition includes 83 objects, including mosaics, 10 stained - glass windows, dozens of liturgical objects, and scores of works on paper, design drawings and promotional ephemera.
Today the Collection includes approximately 4,800 objects and is primarily composed of late - 19th and 20th - century works, ranging from Picasso's monumental public sculpture Bust of Sylvette, sited in the plaza of Silver Towers apartments, on Bleecker Street, to a stained glass window from Frank Lloyd Wright's Martin House, in Buffalo, New York.
They form part of the collection of nine thousand objects including tapestries, stained glass, sculpture, and paintings that Burrell gifted to the city of Glasgow in 1944.
Filmed at the Michael Davis Stained Glass workshop in Long Island City, New York, objects from this session were later given a mirrored surface as part of the artist's Total Reflective Abstraction series of works that took as their point of departure a conversation between Buckminster Fuller and Isamu Noguchi.
This gallery displays important architectural sculpture, devotional objects and stained glass from the Romanesque and Gothic periods.
Rebeca Bollinger combines ceramic, glass, bronze and aluminum sculptures with photography, video, writing and drawing to give visual form and language to invisible realms, memory impressions, imprints, stains, fictions, objects and instabilities.
Many of the «sculptures» included often operated with or within more - two dimensional components — I am thinking here of Jon Kessler's Exodus (2016) and Evolution (2017), configurations far more about the transmutation of object into digital image than it is about the materiality of things; Rafa Esparaza's Figure Ground: Beyond the White Field (2017), a weighty and timely installation on labor, colonialization and identity read through adobe bricks; or Raúl de Nieves» beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end (2016), an installation of five ornate, grotesque, and vibrantly hued sculptures set against a backdrop of eighteen colorful acetate sheets made to resemble stained glass windows.
I suppose this ties into the stained glass window question, too, but it made me want to ask why you were drawn to work on vellum, how you think about the transparency / opacity of paint, and then too, the fragility of a work of art, both as a material object and a site of personal... I want to say expression, but that seems like the wrong word somehow.