Sentences with phrase «takes on a monumental scale»

These more recent works of ink on paper take on a monumental scale,...

In recent years Wood's distinctive still lifes have taken on a monumental scale, covering the facade of Museum of Contemporary Art, Los Angeles, and stretching over the Highline in New York.

Not exact matches

In tackling Louie's story (which sees him transition from Olympian to soldier to castaway to POW to war hero), she takes on a production of monumental scale, filmed in multiple countries and in vast expanses of the open, pitiless Pacific, but her willingness to go big is less impressive than her unwillingness to go gentle.

From 1950 to 1970, Calder's oeuvre took on a monumental dimension as his focus diverted to the creation of large - scale sculptures.

He is renowned for being one of the first artists to make the radical gesture of taking the canvas off the stretcher and hanging it directly on the wall in works such as Purple Octagonal 1967, as well as making provocative sculptures such as Third Rope Piece 1974, the intimate scale of which directly responds to traditional ideas of monumental art.

Often monumental in scale and interlaced with shells, beads, and feathers, her art took on a mystical quality — a «defiance of ordinary verbal communication,» she called it.

This American author relied on great fields of color to evoke dramatic symbolic conflicts between man and nature, a confrontation designed to take place on a monumental scale of Still's large canvases.

«Black Block» Is Newest Brooklyn Buy — So taken is the Brooklyn Museum with their current exhibition of large - scale sculptures by Ghanaian artist El Anatsui, that the institution has decided to purchase «Black Block,» an unusually monochromatic wall hanging comprised of everyday materials, which is currently on display in the institutions's current show, «Gravity and Grace: Monumental Works by El Anatsui» and will be traveling to museums in Des Moines, Miami Beach San Diego once the exhibition ends in August.

These pieces took on an increasingly abstract style and monumental scale.

Warhol decided to reproduce, on a monumental scale, 13 mugshots of various criminals taken from a booklet entitled The Thirteen Most Wanted Men produced by the New York Police Department.

Working on a monumental scale the artist Gordon Matta - Clark, from whose work the gallery takes its name, similarly redefined architecture in the 1970s, using massive slicings and excisions to suggest, among other things, the instability of the concept of property and the ephemerality of what we call real estate.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Taking on monumental sculpture, site - specific interventions on top of and in between private buildings, lamppost banners, and bus shelters, this project engages a diverse range of sites in all five boroughs, including a large scale installation on the North facade of The Cooper Union's iconic Foundation Building.

Often working on a large if not monumental scale, she takes ordinary, domestic items - such as platters and chargers - and elevates them into powerful, sculptural objects.

Often working on a large if not monumental scale, she takes ordinary, domestic items - such as platters and chargers - and...

We're tough around here, and we can take it if someone's talking behind our backs: Hilton Kramer, testy art critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?»