Sentences with phrase «vernacular structures»

These vernacular structures have weathered time and dutifully served the inhabitants of this serene valley for decades.

Whether authored designs (such as 101 Spring Street, which was completed by architect Nicholas Whyte in 1870) or vernacular structures (such as the

Painter Damian Stamer depicts barns, abandoned buildings, and other vernacular structures of the rural south.

The other 2 buildings, utilize existing vernacular structures from the 50s, with the same exteriors from that era.

Mining the unconscious, works like Pleasantville and Golden Arches fuse vernacular structures with corporate imagery and ethereal swathes of bright color and elongated form.

Images by William Christenberry chronicle the decay of a vernacular structure in Greensboro, Alabama over the course of several years and evoke the artist's personal connection to the landscape of the rural south.

Not exact matches

They show also that the root of the malaise of the Church, and of Christendom as a culture, did not lie and does not lie in structures, canon law, liturgy, or the use of the vernacular, necessary and urgent though reform in these spheres may have been.

That is to say, in their vernacular work, missions appropriated numerous plausibility structures with which to express the gospel.

Works in various scale create dynamic spatial relationships: a metal structure covered with accumulated bottles sits on the floor, informed by vernacular architecture as well as the cotillion, a social dance originating in France in the 18th century and further developed by African Americans in the United States; and a chandelier of oversized cowrie shells hangs dramatically within a large and site - specific yurt - like structure.

While proclaiming its place among the great canvases and grand story of American art, the work's repurposing of distinctly marginal and vernacular materials effects a majestic critical shift in how the structures of society, meaning and beauty in the streets — and in art history — might be seen.

Informed by an extensive background in live performance, Kahn's work embodies a keen awareness of the body and of artist / audience relationships, drawing on devices of improvisation, comedy, dance, theater, and pop vernaculars to drive forward its deeper structures based in literary, cinematic, and musical practices.

He juxtaposes modernist architecture with structures common in Latin America — favela shacks, adobe and vernacular buildings — and he incorporates aspects of the do - it - yourself economy to find practical solutions when resources are scarce.

Often, she will take up vernacular and structures from romance novels, fundraisers, and advertisements.

The exhibition at the Walther Collection, which took place from the beginning of May 2015 until the fall of 2016, investigated the production and use of serial portraiture, conceptual structures, vernacular imagery, and time - based performance in photography from the 1880s to the present, bringing together works from international artists.

But the title Variant / Adobe also illuminates a resemblance between the idiosyncratic vernacular of typical Adobe houses and the formal structure that recurs in «variations» throughout the series.

The Order of Things investigates the production and uses of serial portraiture, conceptual structures, vernacular imagery, and time - based performance in photography from the 1880s to the present, bringing together works by artists from Europe, Africa, Asia, and North America.

Key to the selected works are their respective engagements with the vernacular of the Internet, using the language and appearance of user - generated content, working with or referencing online structures found in games, video diaries and blogs.

Exploring the position of the artists who have been associated with a fixed social identity, the exhibition is structured around platforms that allude to a vernacular architectural wooden form used in hot climates to spend summer nights outdoors.

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 description is apt, given that he often grafts a specifically urban vernacular onto a unique brand of formalism, not only to summon such art - historical precedents as Mark di Suvero's and Anthony Caro's metallic structures but also to make clear turns on the project of Minimalism — on Donald Judd and Dan Flavin in particular.

Drawing on craft techniques like embroidery and the vernacular of interior design, David exploits the functional potential of these practices in an attempt to organize and structure the chaotic nature of his emotional response to reality.

The vernacular wood frame of his Church at Head Tide (1938) exemplifies this concentration upon local forms: the black outlines surrounding the structure — increasingly prevalent in Hartley's work after the early 1930s — metaphorize this inward turning.

These enigmatic structures were captured over years of travel throughout America, and reveal a love for obscure vernacular architecture.

The photographs were all images of non-idealized landscapes, a mundane American vernacular — sprawling repetitive suburban areas, anonymous «strip» malls, one and two - story structures along highways, liminal urban areas — each bearing witness to a potential social critique.

Vernacular examples from the region inspire the forms and material palette of this new «old» structure.