Sentences with phrase «wax effigy»

Robert Gober prints a musical score on a wax effigy buttocks — complete with human hair.

Within moments, his features resembled those of a wax effigy.

Juxtaposing well - known masterpieces with surprising and little - seen works, the exhibition brings together sculptures by artists from Donatello, El Greco, Jean - Léon Gérôme, Antonio Canova, Auguste Rodin, and Edgar Degas to Louise Bourgeois, Meret Oppenheim, Isa Genzken, Charles Ray, Fred Wilson, Robert Gober, Bharti Kher, Duane Hanson, Jeff Koons, and Yinka Shonibare MBE, as well as wax effigies, reliquaries, mannequins, and anatomical models.

Featuring works by Donatello, El Greco, Auguste Rodin, and Jeff Koons, among others, the exhibition draws together idealized sculpture, wax effigies, reliquaries, mannequins, and even anatomical models.

Juxtaposing well - known masterpieces with surprising and little - seen works, the exhibition brings together sculptures by artists from Donatello, El Greco, Anna Morandi Manzolini, Jean - Léon Gérôme, Antonio Canova, Auguste Rodin, and Edgar Degas to Louise Bourgeois, Meret Oppenheim, Isa Genzken, Charles Ray, Fred Wilson, Robert Gober, Bharti Kher, Duane Hansen, Jeff Koons, and Yinka Shonibare MBE, as well as wax effigies, reliquaries, mannequins, and anatomical models.

The exhibition includes two decades of work: gory but still - vibrant flesh sculptures («meat pieces»), wax effigies, whimsical installations and notoriously «bad» paintings.

Not exact matches

As a material «insensibl [e] to contradiction», wax's ability to take imprints of the unique landmarks of the skin connects it to strategies of surveillance and data collection that measure visual, behavioural or chemical characteristics, connecting Hershman Leeson's hotel tableau to her later invented character.14 The artist described Roberta Breitmore as «my flippant effigy» and «a dark, shadowy, animus cadaver».15 Similarly, The Dante Hotel was for the artist simultaneously a scene of death and «a means of survival».16 As such Thek's and Hershman Leeson's volatile effigies connect two very different bodies of work and different political movements — the counterculture, gay rights, women's liberation — to make visible the restraints placed on the subject.