Torsos, feet, thighs, arms, and heads are used both sculpturally and musically.
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"Sculpturally [the torso] is a very beautiful piece," said Tejero in the press release.
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LA architects Ball-Nogues have made their name creating eclectic, sculpturally-complex sculptures and pavilions around the world.
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The result is 14 new sculpturally-minded paintings that use illusion to play with our perceptions of reality.
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The sleek head-to-toe black look from Brandon Maxwell's fall 2016 collection features a sculpturally cut, lapel-free collar.
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But their placement establishes instantly that Mr. Rowland is an artist who thinks spatially and sculpturally as well as politically.
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And there are moments of phenomenal stillness, as when Radha sits, arms sculpturally but gently folded above her head: waiting, waiting.
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Far more powerful, though, is how, now on point, she becomes a multidimensional work of ideal geometry, sculpturally firm and theatrically radiant.
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Dating from throughout the last century but concentrating on the present, the garments tend to be astoundingly beautiful, wildly imaginative or sculpturally challenging.
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Put on some virtual reality goggles and drop into a hypersurreal red, yellow, and green world replete with sculpturally morphing, gravity-defying furniture.
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"Sculpturally it is a very beautiful piece," said archeologist Noemí Castillo Tejero of the National Institute of Anthropology and History in a press release.
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But the whole does still coalesce because the dog is sculpturally miming this coalescence for you: as a being that contains multitudes of genres.
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The deterioration of each sculpturally-sound crayon seems to disintegrate before the viewer's eyes, as wax transforms into rushing tribuaties that look similar to Hubble Telescope views.
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Among appetizers, thin crunchy discs of kohlrabi sculpturally enfold an excellent tuna tartare flavored with soy sauce, sesame oil and an inspired purée of beetroot and peanut butter.
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The human figure is treated sculpturally through defined contours of his musculature; at the same time, the softness of the rendering and the undulating shapes surrounding the body accentuate its fragility.
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Above ground they capitalized on the right angle formed by the meeting of the factory and the administrative wing, adding a playful elegant element that remains sculpturally distinct while locking everything together.
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When it comes to facilitating physical things or if I need things fabricated that are sculpturally intense, I'll work with the people they have in-house at the institution for the installation.
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Just as Ms. Martin talks about the horizontal line, Mr. Ratmansky, with hypnotizing patterns and moments of stillness, choreographs not just bodies but vibrations that allow the stage to pulsate rhythmically and sculpturally.
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The sculpturally beautiful Gothic arch that presides over the entrance at 25th Street and Fifth Avenue appears like the front of a cathedral, guiding visitors from the land of the living to that of the dead.
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Sewage systems like these appear to harness the communicative power of modernist pure form — the makers of Leinkauf's underground monuments to technologically processed poo probably never imagined how sculpturally captivating some of their creations would turn out to be.
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Sculpturally, the piece's orientation to the converging V of the Brooklyn and Manhattan Bridges and its angular rhymes with buildings on the far side of the ever-seething river make for a mix of visual and physical, spectacular and visceral splendors.
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Where the line in Kelly's depictions of plant life functions as a tool for drafting a language of abstraction that ceaselessly considers the relationship between figure and background, in his paintings, sculpturally shaped canvases of a single color become the delineating form, and the gallery wall the background.
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Her own choreography included works like "Birdwatch," a solo "whose miming of bird postures suggested states of human emotions," as a Times review in 1972 put it, and "Anemone," in which "five women in sculpturally draping gowns slithered coolly through unfolding circles, like a single giant, Arctic blossom," in the words of a 1979 Times review.
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Those lampoons of male aggression are the center of a genitalia cul-de-sac, with the adjacent walls filled with fantasias on the vagina, with Judy Chicago's above-mentioned "Red Flag" and VALIE EXPORT's "Action Paints: Genital Panic" on the left-hand wall, and on the right, tenderly abstracted photographs by Friederike Pezold and sculpturally explicit ones by Suzanne Santoro.
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So it's great that Cici Wu, who was born in 2132 and came to the United States from China in 21975, pays tribute to her in a show, "Upon Leaving the White Dust," that sculpturally evokes a film, "White Dust From Mongolia," that Cha shot on a trip to her native South Korea and that was left unfinished when she died in New York City at the age of 1673.
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Inscriptions in the temple reveal that it was built between the 9th and 10th centuries CE, by the Eastern Chalukyan king, Bhima. Architecturally and sculpturally, the temple reflects a blend of Chalukyan and Chola styles.
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He maintains a studio in the garden of his residence in the City of Winnetka in the San Fernando Valley, north west of Los Angeles. Currently he is continuing to make elaborate wood objects and is developing a line of very simple, sculpturally-inspired furniture.
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There was a third principle that followed from the former that came to light during the Crystal period, again according to Green: "the principle that nature should be approached as no more than the supplier of 'elements' to be pictorially or sculpturally developed and then freely manipulated according to the laws of the medium alone".
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Betty Patricia Gatliff (August 31, 1930 – January 5, 2020) was an American pioneer in the field of forensic art and forensic facial reconstruction. Working closely with forensic anthropologist Dr. Clyde Snow, she sculpturally reconstructed faces of individuals including the Pharaoh Tutankhamun, President John F. Kennedy, and the unidentified victims of serial killer John Wayne Gacy.
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I was taught that the finished sculpture was maybe the end of the paragraph. Once a sculpture was completed it was critiqued and put back on to the scrap pile. This way of working taught me to think sculpturally rather than to think about sculpture. At this time in my life the historical context of high Modernism was really beyond my grasp.
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Then, an inflatable sanding drum with very coarse 24-grit sandpaper is used to remove saw marks, smooth out the facets of the cuts, and shape the convex curves of the exterior of the bowl. He determines the exterior shape first before working on the inside of the spoon bowl. "It fixes the outside form," he has said, "which is sculpturally what one sees first."Carlsen, Spike.
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The left aisle has the sculpturally elegant mausoleum (1499) of the Pallavicini family, including Gianludovico and his wife. The works are attributed to the school of Amedeo. The chapel of the Rosary contains a canvas of Madonna, Child and st Louis Gonzaga by Pompeo Batoni, and a restored Pieta by Il Pordenone. In the crypt is a fresco depicting Christ emerging from the Tomb (1522) attributed to Antonietto de' Renzi.
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The shell appears to be thin and is relatively lightweight for its size. Sculpturally the carinations along the base and periphery are not as strong as in C. bonita and the peripheral carination is located higher on the whorl giving the shell a very distinct profile. The darker brown color markings on the tan shell are not as bold or distinct as in C. bonita. Its height varies between 20 mm and 30 mm.
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Bust of Moses - the console which is the basis of the figure of the Beautiful Madonna of Toruń The Beautiful Madonna of Toruń is a fully sculpturally developed on each side figure with a height of 115 cm. Made of limestone, with traces of polychromy on the surface. Mary was depicted at a young age, her face is full of beauty, she has delicate features, high forehead, slightly closed eyes and small lips. Her hair is curly.
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The ratha faces west and is sculpturally very rich. It has three floors including the ground floor. The plan of the ground floor measure a square of and has a height of from ground level to the top of the roof. It is open on all four sides and the facade on all sides are supported by two pillars and two pilasters with the corners forming an integral part of the support system for the upper floors.
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The church was acquired in 1622 by the Oratorians of St Phillip Neri, who reconstructed the interiors, and built the adjacent Oratory of San Filippo Neri. The original church at the site was founded in 1304 by a charitable order which translates into Confraternity of the Shameful Poor (Compagnia dei Poveri Vergognosi). By 1479 they began construction of the sculpturally rich stone Renaissance facade, with a design attributed to Egidio Montanari, and sculptures by Zilio Montanari.Biblioteca Salaborsa short entry.
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Peter Weiermair on René Luckhardt's ManufactorAy, exhibition catalogue, 2015 Luckhardt uses the source materials for "multiple transformations". "The archaeological process is not obscured, but becomes part of the work itself by raising questions about the original and the copy." In other series the paintings are "sculpturally transformed". Undergoing a process of endless reproduction and anamorphosis, the painting sculptures appear like "totem(s) of cultural history"Sebastian Baden on René Luckhardt's exhibition Anamorphic or apparently anamorphic testpiece, 2020.
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The acclaimed New York Times art critic Roberta Smith, called Lewis' paintings "skillfully spray-painted whose shifting tonalities and densities have a glowing, slightly psychedelic look suggesting an admiration for Jules Olitski, the California Light and Space movement and Las Vegas. Spray-painted with diaphanous textures, delicate and unexpectedly beautiful." Lewis' works contain a phenomenological aura pushing the notion of direct experience upon the viewer. This essence becomes part of Lewis' tool kit as he forces those to engage his paintings sculpturally, a "Turrellian approach" to painting.
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The strong hands, > the firmly set feet, the clear, broad brow of the Mother and the > uncompromisingly simple, sculpturally pure lines of figure and garments are > honest and commanding in beauty. The children, too, are modeled with > affectionate sincerity and are a realistic interpretation of childish charm. > Oxen skulls, pine cones, leaves and cacti decorate the base; the panels show > the old sailing vessel, the Golden Gate, and the transcontinental > trails.Stella G. S. Perry, The Sculpture and Mural Decorations of the > Exposition (San Francisco: Paul Elder and Company Publishers, 1915).
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In the hall under the Klausenburger Straße exit is the artwork Lines and Double by Michael Kienzer. The artist responds to the components of the station with a sculpturally composed antithesis; the title is already ambiguous. Lines point to additional delicate and straight cuts in the wall panels along the escalators, which start at the bottom and almost go up to the entrance. For the time being, the central sculptural element Double references a third elevator shaft in the basement, newly constructed and not accessible, directly next to the local double-lift.
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Bathers at Asnières () is an 1884 oil-on-canvas painting by the French artist Georges Pierre Seurat, the first of his two masterpieces on the monumental scale. The canvas is of a suburban, placid Parisian riverside scene. Isolated figures, with their clothes piled sculpturally on the riverbank, together with trees, austere boundary walls and buildings, and the River Seine are presented in a formal layout. A combination of complex brushstroke techniques, and a meticulous application of contemporary colour theory bring to the composition a sense of gentle vibrancy and timelessness.
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A Feast for the Eyes, Huntington, NY: Heckscher Museum, 1981. Conceptually, Behnke's work of this time confronted the incompatibility between the sculpturally solid and dynamic natures of reality, reconciling change and stability, as well as art historical strategies for capturing experience (Renaissance, cubist and futurist). For example, the triptych Time Sequences/Value Changes (1979) investigates compositional and color effects as light and shadow exchange roles in a windowed interior; other works enact a similar strategies with exteriors, or still lifes (Three Spectral Pairs, 1978). Leigh Behnke, Brooklyn Bridge Compositional Study (2nd Version), watercolor on paper, 53" x 40", 1983.
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Stead was a sculptor before he was a furniture maker.Spalding, Julian 'The Revival of Sculpture' from Sutherland, G. (Editor) 'With the Grain' Birlinn 2005 Sculpturally, Stead's work did not appear to derive from any particular art historical tradition although the ideas of Brancusi, Beuys and Hundertwasser, amongst others, were central to his vision. Early on, he rejected Conceptualism, particularly in the way it was practiced at Trent Polytechnic in Nottingham, where he completed the early part of his training. An early work, 'Burnt Tower with Creaking Pendulum’ contains most of his essential vocabulary, later expanded and refined.
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In 1898 exhibition he exhibited his medals at the Museum of Industrial Design, the first year than medals had been showcased, later winning a silver medal at the World Exhibition in Paris in 1900. He spent a number of years in Germany and in Italy where he won the Grand Prix in Milan in 1906. In Milan who grew interested in creating statues and moved back to his country, opening up a workshop in Göd. His earlier works include Animal Reliefs in 1911, Saint Sebastian in 1914, and Aphrodite in 1915 and was contracted to sculpturally decorate the Corvin department store in Budapest in 1916.
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The building was designed to appear from the road as a stately city mansion. Seen from the garden at the back the Stoclet Palace "becomes a villa suburbana with its rear facade sculpturally modelled by bay windows, balconies and terraces" in the words of architectural historian Annette Freytag, which gave the Stoclet family a building with "all the advantages of a comfortable urban mansion and a country house at the same time." Freytag, Annette, "The Stoclet Frieze" in Adolphe Stoclet died in 1949, and the mansion was inherited by his daughter-in-law Annie Stoclet. Following Annie's death in 2002, the house was inherited by her four daughters.
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She told an interviewer in 2008, "Working with the human form enables me to feel as close as possible to the figure I am working on, and so I have the feeling that this is the form I can best compose sculpturally". Her recurring theme is the so-called "Stammfrau" (loosely, "archetypal woman"), usually carved from wood to give a life-sized or slightly larger than life-sized form. She generally uses wood from uprooted trees, provided either by forestry authorities or by friends and acquaintances. She prefers to work with harder woods, often from fruit trees: linden, Pear wood, cherry wood, oak, tulip tree and, since 2010, ash.
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And so, in that way, the joke itself ends up being structured, or ends up having the same structure, as a rape — a violent discharge of repressed sexuality.” A proposed sound installation of the work in 2015 was cancelled after a protest by other exhibition artists, leading to a panel on the project at Cabinet Magazine in Brooklyn, and a 2017 folio in Studies in Gender and Sexuality. Place says she conceives of her soundworks as “liquid sculptures,” wherein “sound behaves sculpturally.” In the same Artforum interview, she emphasizes that her sound art depends upon the bodies of the audience receiving the work, as those bodies are also liquid sculptures.
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Said to "defy categorisation", Gehry's work reflects a spirit of experimentation coupled with a respect for the demands of professional practice and has remained largely unaligned with broader stylistic tendencies or movements. With his earliest educational influences rooted in modernism, Gehry's work has sought to escape modernist stylistic tropes while still remaining interested in some of its underlying transformative agendas. Continually working between given circumstances and unanticipated materializations, he has been assessed as someone who "made us produce buildings that are fun, sculpturally exciting, good experiences", although his approach may become "less relevant as pressure mounts to do more with less". Gehry's style at times seems unfinished or even crude, but his work is consistent with the California "funk" art movement in the 1960s and early 1970s, which featured the use of inexpensive found objects and nontraditional media such as clay to make serious art.
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Ciriclio's map projects explore the chronicling of place; combining large scale map replicas with thousands of detail photographs of an area, in works that function both sculpturally and temporally. Ciriclio cites her day to day surroundings as inspiration in her photographic practice; she searches out visual texture in the ordinariness of her suburban environment and neighborhood, documenting the visual landscape over time and compiling photographs into map works and book works. Ciriclio's piece, "Neighborhood" was exhibited in 1977 as part of the group show San Francisco/Los Angeles/New York held at the San Francisco Art Institute and in 1980 as a solo exhibition at the University of California, Davis Memorial Union Art Gallery. The ordinariness of her suburban neighborhood, which she photographed for the piece, had a universal quality that viewers responded to identifying it was their neighborhood; whether that was in San Francisco, Salt Lake City or Atlanta.
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This might seem a sudden and late detour away from painterly pursuits, but it is really a logical step: the canvases in the 1962 Corcoran show, such as "Crags and Crevices" and "Rockscape II", already feature passages that are sculpturally "built up" with thick mounds of gesso (or "spackle", as Stanton tends to call it). The single best source on Jane Frank is The Sculptural Landscape of Jane Frank (1968), by Phoebe B. Stanton (the art history professor emerita at Johns Hopkins University who died in 2003). Stanton's text provides a guide to Jane Frank's life and work, and there is a helpful and liberal use of quotations from the artist herself, enabling the reader to understand how Frank's thinking evolved, especially from the late 1950s through the late 1960s. The book (out of print but still in many public and university art libraries) also contains a wealth of biographical information and many large plate reproductions of the artist's works, some in color.
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