Sentences with phrase «with sculptural practices»

Future Eaters presents a range of Australian and international artists working with sculptural practices in the technological age.

Future Eaters presents a range of contemporary Australian and international artists working with sculptural practices in our present technological age.

All of the books on display deal with language and explore artists» interest in words in connection with sculptural practice.

The edition is in keeping with her sculptural practice, which strips their supposed functionality and deflect our familiarity with an object coded by domesticity.

Not exact matches

Many of the artists share Deschenes» interest in architecture and the sculptural potential of photography — either creating an image of three - dimensional space, such as the work of Kalpakjian, or with the incorporation of sculpture into their practice, as in the works of both Tonsfeldt and VanDerBeek.

This informal conversation between London - based artist Francis Upritchard and German - born jeweller Karl Fritsch will explore the artist's unique sculptural language and the multiplicity of artisan and craft traditions Upritchard has incorporated into her practice, including collaborations with UK fashion house Peter Pilotto, Karl Fritsch and Italian designer Martino Gamper.

Barlow's sculptural practice is grounded in an anti-monumental tradition and is concerned with the relationship between objects and the space that surrounds them.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

One of the key influences on her sculptural practice was the experience of taking dance classes with choreographer and dancer Merce Cunningham.

Thursday, Sept. 11, 2014 @ 7 — 9 p.m. KEVIN BEASLEY in Conversation at Studio Museum in Harlem New York Artist - in - Residence Kevin Beasley, whose works include sculptural installations made with found materials, discusses the development of his practice and experience at the museum with Lumi Tan, associate curator at The Kitchen.

Since the late 1960s, Jonas has intermeshed various practices to investigate notions of gender, narrative and the concept of experience and space, as an act of translation and critical interaction with sculptural concepts and forms, translated into performances and installations.

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.

Ifeel that both the work and my studio practice have matured and this exhibition reflects my creative and conceptual ambition, even with the sculptural difficulties it throws up for me as an artist.»

Dramatic, sculptural installations that transform collected mundane materials into works examining race, poverty, consumer culture, and materiality have become synonymous with the Jamaican - born, Uptown - based Nari Ward's practice.

In a conversation with film director, Brian Redondo, artist Doreen Garner shares the motivation driving her sculptural practice: to educate viewers about suppressed racist histories embedded in the foundations of a nation built on slavery.

Slanguage Studio is an artist - driven studio practice and education collective that has evolved organically from an active studio to a public - engagement - oriented sculptural space, interfacing regularly with community members, national and international artists, and youth.

This understanding of sculptural language and a preoccupation with forms in space, translated into two - dimensional images, underpins her pictorial practice.

Beginning with a drawing of a bird made on her foundation course in 1974, this chronological survey of Cornelia Parker's poetic, transformative and often explosive sculptural and installation - based practice focuses on the artist's own descriptions of her work.

Though she works with different media and sometimes crosses into performance, Lemsalu's practice is fundamentally very sculptural, with her incredible ceramics taking centre stage.

Cheng's sculptural practice demonstrates a preoccupation with objects people often create to meet basic needs such as: shelter, illumination, warmth, support, nutrition and occasionally diversion Cheng's solo exhibition, entitled Mixtures, involves a sprawling and scattered installation, a single work containing multitudes.

His anthropological work left a deep imprint that affected his sculptural practice and his engagement with the perception of space.

Central to his videos, sculptural installations, and flatworks, this comic dysmorphia — where the things we see clash with the words we read or hear, and the meanings we associate with them — has become a crucial part of Wolfson's practice.

«Future Proof» developed from Murray's initial sculptural practice of crafting asymmetrically shaped canvases that would interact with the paint, shown in «Mystery of Light».

In their first show with the gallery since 2009, artist duo Jennifer Allora and Guillermo Calzadilla present a show focused on three works that represent the breadth of their collaborative multimedia practice and explore existential themes — a sculptural installation made from acrylic lecterns, dinosaur bones, and the remains of extinct species; a performance in which three vocalists whistle at a four - billion - year - old rock; and a sound work based on recordings of breath.

The addition of bronze to de Jong's sculptural language represents an engagement with mortality, monumentality and world history that is more nuanced and less visceral than the use of modern synthetic compounds that defined the first 15 years of the artist's practice.

Since the late 1960s, Adrian Piper has forged a unique artistic practice that infused classical Minimal sculptural form with explicit political content and introduced issues of race, gender and identity politics into the vocabulary of Conceptual art.

The exhibition continues with works by: Isa Genzken, Cristina Iglesias, Liz Larner, Anna Maria Maiolino, Marisa Merz, Senga Nengudi, Lygia Pape, and Ursula von Rydingsvard, a Post Modernist generation of increasingly global figures who are far more expansive in their use of space, and whose works signal a foundational shift from discreet sculptural objects toward more installation - based practices.

This group exhibition broadens the dialogue of contemporary painting practices by showcasing the ways in which formal considerations such as color, texture and composition are created with thread, fabric, clothing and sculptural manipulations of canvas.

In his broader practice, the Dubai - born contemporary artist works with digital video, painting, sculptural installation, computer software programs, and print, to test the complexities of cultural identity.

Michael Dean's hermetic practice, which examines the relationship between language and object, is primarily sculptural and encourages physical contact with the viewer.

This exhibition, with work from major European and American public and private collections, traces Serra's investigation of drawing as an activity both independent from and linked to his sculptural practice.

The exhibition also demonstrates that Land Art was concerned not just with sculptural works but also media practices: Language, photography, film and television played a central role in the creation and development of Land Art.

Furthermore, this exhibition sheds light on the aesthetic universe of Carron, providing foundations for his visual and conceptual vocabulary and allowing insight into a practice that combines strategies of appropriation with sculptural bravado.

Sanné Mestrom and George Egerton - Warburton respond to Simon Starling: In Speculum, discussing their own practices with a focus on their shared concerns and engagement with materiality, the studio / workshop, research, scale, site and sculptural process.

With the solo exhibition 100 Faces, Sundaram Tagore Gallery, Singapore, presents a new collection of paintings that are informed by her sculptural practices and techniques.

Incorporating materials not traditionally associated with fine art into his works — including latex, satin, bamboo, and other found objects — Sonnier began to create sculptural works that challenged the conception of art at the time, and which went on to redefine contemporary sculptural practices.

Von Rydingsvard has evolved a distinctive, highly personal sculptural language that has become synonymous with cedar, the wood that lies at the heart of her practice.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

In addition to Burn's prolific sculptural and video work, the self - proclaimed «compulsive collaborator» co-founded W.A.G.E. (Working Artists and the Greater Economy), an important advocacy group for fair economic practices in the arts, co-founded Randy, an annual trans - feminist art magazine, and is a member of LTTR, a feminist genderqueer artist collective with an annual journal, performance series, and screenings.

Since the 1960s, Alabama - born Whitten has devoted his artistic practice to the potential of painting, transforming material into process, and breaking ground with the plastic and sculptural possibilities of abstraction.

With their collage of quotidian materials, their vertical orientation reminiscent of skyscrapers (albeit in miniature), and their use of a sculptural idiom, the columns are typical of Genzken's approach, for although her oeuvre is heterogeneous, architecture, sculpture, modernism, and the readymade remain touchstones of her artistic practice.

Liz Glynn's sculptural practice engages with issues of social ritual, class, and the dynamics between public and private space.

Through his residency at the Graham Foundation, artist Brendan Fernandes worked with the architecture and design collective Norman Kelley to develop a series of sculptural devices that serve as sites for intense, endurance - based practice.

His multifaceted practice expands to sculptural costumes, performative installations, and video and attempts to reinvigorate communal, ancient memory with personal, current experiences.

Organized in collaboration with Art + Practice, a Los Angeles - based art and service organization, and co-curated by the BMA's Dorothy Wagner Wallis Director Christopher Bedford and Assistant Curator of Contemporary Art Cecilia Wichmann, the show is built around eight photographs, three sculptural installations, and a video compilation of performance excerpts.

Though represented by powerful NYC gallerist Jack Tilton, his recent exhibition «Rag Man» at Leimert Park's Art + Practice (in partnership with the Hammer Museum and curator Anne Ellegood, and slated to travel to the Aspen Art Museum later this year) was the first proper Los Angeles solo show focusing on Outterbridge's recent works, those made since 2000, in his most recognizable style of intimately - scaled sculptural assemblage.

He engages with non arts sector institutions in large scale collaborative projects where he deconstructs drawing, painting and sculptural processes and disseminates concepts, methods and material usage through his practice and interactive workshops.

Many of the artists share Deschenes» interest in architecture and the sculptural potentials of photography — either creating an image of three - dimensional space, such as Kalpakjian, or with the incorporation of sculpture into their practice, as in the works of both Tonsfeldt and VanDerBeek.

Van Gorp's group collectively highlights a current of hybridism, where production technologies, scientific innovation, social media, and the Internet are spliced with painting and sculptural practices to produce complex and dynamic pictorial and visual experiences.

Our integrated Public Programme consist of commissions, residencies, education and interpretation projects, which attract and inform significant audiences as well as providing artists with platforms and opportunities for debate and critique, as well as developing the discourse on contemporary sculptural practice.