Sentences with phrase «vernacular objects»

Central to Richard Slee's exhibition at Studio Voltaire are a number of works based on vernacular objects such as wood saws, hammers, pick axes and camping equipment.

This series echo the «Color Field Painting» of the 1950s American painters as well as the minimal gesture of Minimalism; an aesthetic that Rouillard consciously absorbed to regenerate them through vernacular objects.

Using the genre as a conceptual framework, the works on view translate literary tropes and vernacular objects, such as religious furniture or cosmetic tools, into artworks that further Slavs and Tatars» investigation of speech and sovereignty.

There we see a dozen white plaster casts of ancient Greco - Roman statues, an inflated snowman, and sundry vernacular objects, the best of which is a row of mailboxes.

Not exact matches

Krishna in the north become the objects of bhakti's impassioned devotion, and bhakti poetry, brimming with love for the Lord flowers in the vernacular languages which, to some extent, take over from the language of «high» culture, Sanskrit.

Individual collections include: examples of British vernacular culture from Peter Blake; the eclectic contents of two rooms from Hanne Darboven's family home in Hamburg; Damien Hirst's skulls, taxidermy and medical models; Indian paintings from Howard Hodgkin; Dr. Lakra's record covers and scrapbooks, Sol LeWitt's Japanese prints, modernist photographs and music scores; 20th century British postcards and Soviet space dog memorabilia from Martin Parr; Hiroshi Sugimoto's 18th century French and Japanese anatomical prints and books; Andy Warhol's cookie jars; more than 1,000 scarves and other textiles by the American designer Vera Neumann from Pae White; and a collection of thousands of objects assembled by Martin Wong and subsequently acquired by Danh Vo.

The fact is, however, that we've seen these characters and objects everywhere, and Shaw is not so much concerned with the way vernacular imagery has spread his subjects everywhere as he is genuinely interested by it.

Using photography, text, sculptures, tools, and objects of the vernacular, she has developed a syntax that is driven by personal narrative.

Constructed entirely from nails, by hand, Bisbee's objects draw on a deep well of American historical and vernacular imagery.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

The artist blurs the line between the seemingly disparate spheres of learned and vernacular culture, art, and craft to create poignant sculptures that are both utilitarian and deconstructed, sculptural objects.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture.

This fall, they are developing a new project — «P.O.L.E. (People, Objects, Language, Exchange)» — that continues their investigations of the choreography of relationships and the movement of cultural transmission via the vernacular of pole dancing.

Individual collections include: African art and samurai armour owned by Arman; examples of British vernacular culture from Peter Blake; the eclectic contents of two rooms from Hanne Darboven's family home in Hamburg; Edmund de Waal's Japanese netsuke; Damien Hirst's skulls, taxidermy and medical models; Indian paintings from Howard Hodgkin; Dr. Lakra's record covers and scrapbooks, Sol LeWitt's Japanese prints, modernist photographs and music scores; 20th century British postcards and Soviet space dog memorabilia from Martin Parr; Jim Shaw's thrift store paintings; Hiroshi Sugimoto's 18th century French and Japanese anatomical prints and books; Andy Warhol's cookie jars; more than 1,000 scarves and other textiles by the American designer Vera Neumann from Pae White; and a collection of thousands of objects assembled by Martin Wong and subsequently acquired by Danh Vo.

His work is distinguished by rigorous formal and structural analyses of neglected forms of vernacular culture, informed by his large collections of objects representative of consumer desires, religious fervor, and a constantly evolving counterculture.

A comprehensive selection of his works is presented alongside objects from his collections of vernacular art and religious didactic materials.

The sculpture in this show furthers the artist's use of vernacular craft forms and materials in abstract yet iconic objects.

Sadie Barnette uses drawing, photography, objects, book and print making, and site - specific interventions to construct a visual language out of cultural codes and west coast vernacular, economic formalism, text and abstractions.

Using photography, text, sculpture and methods, tools and objects of the vernacular, she has developed a syntax that is driven by personal narrative.

Blades conjoins the spiritual with the vernacular in an intense «architecture of objects.»

A comprehensive selection of his works will be presented alongside objects from his collections of vernacular art and religious didactic materials.

An English and Spanish word that broadly describes images and objects produced in the Americas and typical of American cultures, here it is specifically intended to evoke both North American vernacular art collecting traditions and a unique hemispheric perspective that reaches across national borders.

This book features both well - known and emerging artists from Europe and the United States, and explores a recent shift in object making from the large - scale and heroic to the vernacular, spunky, and blatant.

Found objects that draw upon the Australian suburban vernacular of the garage, inflatable pool and barbeque are amongst the many materials transformed to create a series of interconnected environments that together «breathe» like a vast and mysterious body.

Adam McEwen appropriates vernacular forms, from text messages and obituaries to everyday consumer objects, manipulating familiar items and repurposing them in new, unexpected contexts.

Raised in a culturally rich community steeped in vernacular forms of creativity — bottle trees and fences decorated with eggshells — and characterized by a strong ethos of saving and recycling, Outterbridge was quite literally surrounded by used and discarded objects valued for their potential afterlife.

The exhibition featured both well - known and emerging artists from Europe and the United States, and explored a recent shift in object making from the large - scale and heroic to the vernacular, spunky, and blatant.

Included in the show will be a group of related photographs by the artist, as well as a selection of vernacular sculptural objects that set a new imaginative context for Sommer's work.

Turkish artist Yiğit Yazici drives to turn the vernacular into something spectacular, with everyday objects and scenes becoming psychedelic landscapes.

This exhibition at James Cohan Gallery seeks to develop these earlier ideas around what I termed «vernacular» or «everyday» abstraction: that is artistic practices that actively privilege and operate in the grey area between an essentially non-representational image / object and the use of quotidian materials and processes.

While continuing to explore language and perception with her familiar word - objects, Nancy Dwyer's paintings and sculptures employ vernacular graphic elements to conflate context & object.

Stories are a starting point for all of Taus Makhacheva's works and they are told in local vernacular: ordinary people, everyday objects, works of applied decorative arts, landscape, traditions, family lore and institutional archives.

With a broad range of materials including ceramics, Duke creates representational and abstract compositions and installations that use patterns, shapes, and structures from American vernacular architecture and the tools and objects of industry.

The resulting practice remains difficult to name and is quite distant to the academic sculptural traditions of the time, it links more to the vernacular traditions of making devotional objects in Podhale, the region of Poland where he lived.

For his Sightings exhibition at the Nasher, Israel will combine new sculptural objects made in the vernacular vocabulary of Hollywood movies to make a quasi-narrative installation related to a film that Israel is soon to release.

In the early 2000s, Bove made a series of wall - mounted shelves, which contained disparate elements, such as used books, vintage magazines, vernacular sculptures, and found objects.

The artist blurs the line between the seemingly disparate spheres of learned and vernacular culture, art, and craft to create poignant sculptures that are both utilitarian and deconstructed objects.

MG As much as your work engages with non-Western traditions, it is also very much rooted in American culture, where there is a long legacy of sculptures built out of found objects — not only in «high art,» but even more so in vernacular expressions, of which your work seems keenly aware.

Working with a vernacular used in fountains and parks globally, Kori Newkirk presents a tableau of objects in a trench.

But Mr. Shaw, a Cal Arts grad who (along with Mike Kelley) was a forerunner of working with vernacular styles, appropriation and found - object art in America, is not just a prophetic hoarder.

Adam McEwen (1965) is an English conceptual artist, living and working in New York City, best known for his artworks that appropriate vernacular forms of everyday consumer products and objects and repurpose them in new, unexpected contexts.

For the second commissioned project on the Whitney's fifth - floor terrace, New York - based artist Virginia Overton (b. 1971; Nashville, TN) explores the contrast between the concepts of the «sculpture garden» as a cultivated setting for contemplating artworks and the «garden sculpture» as a vernacular ornamental object.

Leonard's approach to photography engages with its history as a utilitarian, vernacular, and popular medium; similarly, her sculptures are often composed of found objects — commonplace items that bear signs of their use.

What matters is not where this African - American master of vernacular art acquired his skills, but what he did with them once he began to make art objects that he chose not to expose to public view for fear that he might be violating some unknown licensing ordinance.

Performing or sublimating a «fabulous» sense of isolation or disconnectedness, these objects borrow an expressive vernacular from the art fabric movement; a moment where threads were not to be walked upon or worn but could, by contrast, ventriloquize a sense of political urgency and delineate the presence of our bodies and our neurosis.

His work is distinguished by rigorous formal and structural analyses of neglected forms from vernacular culture, informed by his large collections of objects representative of consumer desires, religious fervour, and a constantly evolving counterculture.