Sentences with phrase «woman sculptors»

The phrase "woman sculptors" refers to people who are females and have the talent and skills to create sculptures, which are three-dimensional artworks made from materials like metal, clay, or stone. Full definition
The current show traces the importance of woman sculptors in modern art for the past 70 years.
Women were lesser - known pioneers in the fields of photography and video, and the radically new methods and forms created by postwar women sculptors are just beginning to be studied collectively.
The expansive show displays how women sculptors have altered the course of art through the use of unconventional materials, new forms or processes, and working within confined studio spaces.
Interestingly, this socialization forced early women sculptors to become more idiosyncratic in their craft skills and choice of materials.
1997 Three Generations of African American Women Sculptors: A Study in Paradox, California African - American Museum, Los Angeles, CA; Telfair Museum of Art, Savannah, GA Explorations in the City of Light: African - American Artists in Paris, 1915 - 1965, Modern Art Museum of Fort Worth, Fort Worth, TX; Milwaukee Art Museum, Milwaukee, WI Bearing Witness: Contemporary African American Women Artists, Fort Wayne Museum of Art, Fort Wayne, IN; St. Paul Museum, St. Paul, MN
As the Amon Carter continues its commitment to featuring the work of regional artists, this exhibition is a destination for anyone interested in Texas art, especially that made by women sculptors working in the vanguard of three - dimensional creative expression.
Today the Dallas Museum of Art announced the acquisition of the first life - sized marble figure executed by Anne Whitney, one of America's premiere women sculptors working during the second half of the 19th century.
The show brings together two Bay Area - based women sculptors Alexis Arnold and Mary Button Durell.
Material Limit brings together two Bay Area - based women sculptors Alexis Arnold and Mary Button Durell.
Peter Lang AG, Witney: Publication, Genteel Mavericks: Professional Women Sculptors in Victorian Britain by Shannon Hunter Hurtado - # 3,000
He said, «Don't give up sculpture; I've known women sculptors and they stop; don't stop.»
Silverthorne came of age as an artist when women sculptors not infrequently used Eva Hesse as inspiration and this was true for Silverthorne as well.
«The art community in Texas at that time seemed exceptionally receptive to acknowledging women sculptors as having a prominent position in the field of sculpture.»
«Forge and Stone: Work by Contemporary California Women Sculptors
Limiting the show to only women sculptors creates an alternative context that brings up a number of thought - provoking issues: Is there an inherent difference between sculpture made by men and women?
Hewing to more sensuous materials and the intimate processes of the handmade, women sculptors began to articulate a female sensibility in their work, shifting the dialogue and laying the foundations for a revolution.
Moniz has chosen the work of nine black women sculptors active around Los Angeles from the 1930's through the present day and honors each artist's unique art as well as their relationships with each other.
That abruptly changed in 1982, when curator Deborah Wye organized a Bourgeois retrospective at MoMA, only the institution's second devoted to a living woman sculptor or painter.
This exhibition shows how proto - feminist women sculptors in the»40s,»50s and»60s intuitively used the internal female body - well before the women's art movement or feminist theory.
The gallery — a hybrid mega-gallery and curated kunsthalle - style exhibition space — launched to much international fanfare with a critically acclaimed exhibition of abstract women sculptors.
Hewing to more sensuous materials and the intimate processes of the handmade, women sculptors at mid-century began to turn away from the dominant masculinist language of art in order to articulate female sensibility and experience in their work, shifting the dialogue of art and laying the foundations for a revolution.
Along with other contemporary, postmodern artists - Lara Schnitger, Shinique Smith and Sonia Gomes - they extend the use of fabric in a more assertive engagement with expansive space, and draw influences from the fashion of leather and lace (Schnitger); bold, psychedelic color (Smith, Barlow and Gomes); and pom - pom girl language (Barlow), with a touch of irony they inherit from Mike Kelley - who, of course, made fabric, traditionally used by women sculptors, famous.
Written and illustrated (in watercolor) by American conceptualist Patricia Cronin, this is the only catalogue raisonné of Hosmer (1830 - 1908), the first professional woman sculptor.
From the Amon Carter website — «In conjunction with the special exhibitions A New American Sculpture, 1914 — 1945: Lachaise, Laurent, Nadelman, and Zorach and Commanding Space: Women Sculptors of Texas, James Surls will provide a public lecture in the Amon Carter's auditorium.
Among the publications that include Rosie's Works are: This Way Day Break Comes, A. Cheatham and M.C. Powell: Contemporary American Women Sculptors, Virginia Watson Jones; The Village Voice, Washington City Paper, Dialogue: Arts in the Midwest, Artspeak, New Art Examiner, Arts Journal, Washington Review, International Sculpture, and numerous catalogues.
It seems as if this spring is a moment for sculpture, and, in particular, women sculptors.
In addition to writing numerous pieces on glass and ceramic works, Netzer has been the subject of multiple publications, including In Three Dimensions: Women Sculptors of the»90s by Charlotte Streifer - Rubenstein and Ceramics: Mastering the Craft by Richard Zakin.
cat., Tate Gallery Liverpool, 1994, p. 18), by another woman sculptor, Gertrude Hermes, is directly comparable with
cat., Tate Gallery Liverpool, 1994, p. 18), by another woman sculptor, Gertrude Hermes, is directly comparable with Infant in its isolation, but its foetal repose contrasts with the hierarchical confidence of Hepworth's work.
This haunting sculpture functions as a central metaphor for tying together the cross-generational associations between these women sculptors through an allusion to the Greek mythology of Arachne, the truth - teller, who became the first Spider Goddess.
The 100 sculptures in this exhibition by 34 women sculptors are installed in four galleries, each in a twenty - year chronological sequence, which also complements the architecture beautifully.
The exhibition presents contemporary women sculptors and photo - based artists that use of scale and technique for expressive effect, as to reanimate deep - rooted emotions related to the human experience.
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