Posts tagged with "Sculpture":
Brooklyn, New York–based studio Chiaozza (pronounced like “wowza”) designed a garden installation consisting of a series of whimsical, desert-inspired plant structures. Like some type of Martian golf course, the stucco-clad, Dr. Seuss-ian masses—tall and knobby, in some cases, bulbous and squat in others—are wrapped in Memphis Group–inspired squiggles and dots and sit atop circular bases made of astroturf. Adam Frezza of Chiaozza explained in a statement that the group wanted “to create a visual bath, something you can explore and get lost in” with their acre-sized installation.
Nigerian-born, Brooklyn-based artist Olalekan Jeyifous created Crown Ether, an un-occupiable home supported by a series of angular, tree trunk-like pillars. The work, according to Jeyifous, is inspired by the artist’s longstanding interest in the intersection between public architecture and displacement, here symbolized by the tension resulting from the visual accessibility of the structure that cannot actually be occupied.Day ✌️ 📷: @ravivora A post shared by Coachella (@coachella) on
Lastly, United Kingdom–based artists Joanne Tatham and Tom O’Sullivan created a massive installation that works as a visual pun for the phrase “elephant in the room” made up of large masses of faceted, brightly-patterned elephants. The 75-foot tall herd stands in a rough circle, with various exposures of each creation wrapped in a different geometric, colorful pattern. The installations will be on view through April 23.Come thru 📷: @ari_fararooy A post shared by Coachella (@coachella) on
The Public Design Commission has reviewed the methods and materials for removing the artworks from the facade of the library and temporarily storing them, and has found these methods to be appropriate with the understanding that a proposal for relocating the artworks within the new development at 280 Cadman Plaza West will be submitted by September 2017.Displaying Spampinato's work in the new library underscores its civic function while preserving the art more-or-less in situ for public enjoyment. There's no word yet, though, on where in the new building the reliefs will be hung when it opens in spring of 2020.
The Desert is a Good Place to Die, curated by Mitra Khorasheh, is a new exhibition of works created by Drew Conrad that utilizes dismembered parts of his old installations to build new sculptures intended to reflect ceremonial shrines of distant cultures. The structures vary in size, delicacy, and complexity, and call to mind feelings of vulnerability, dependency, and our fundamental ties to sentient beings. Conrad explained the theme in a statement: “A piece of me went missing when six years of creative output was erased from the world, now existing only as a ‘phantom limb.’ I have been known to say that the desert is a good place to die. This foreboding thought has existed since the first time I set foot in the arid lands of the Southwest, and traveled across and upward into the Rockies. It is a harsh, rugged, beautiful terrain that beckons me like my own modern day Manifest Destiny, but at times exudes a feeling that death is lingering in the air just beyond the horizon.”
Drew Conrad: The Desert is a Good Place to Die CUAC 175 East 200 South Salt Lake City Through January 13, 2017
According to Linder, though, Gehry viewed the fish as an "empty signifier." Being "architecturally dumb," the fish's abstraction from architecture allowed the celebrated Canadian architect to "rethink architectural forms" from a withdrawn perspective. The fish was "anti-architecture" and "anti-humanist." Gehry played with these ideas at a time when referencing history and humanist themes were prevalent postmodern qualities in architecture.
Probably more than any architect, Gehry liked to incorporate fine art and sculpture into his work. More freedom was available to him as an artist than with buildings. In 1970s he liked cardboard because it’s a material where you go from concept to prototype to finished product in one day. Gehry identifies as a an artist more than any other architect.
The touring exhibition Barbara Kasten: Stages will arrive at the Museum of Contemporary Art in Los Angeles (MOCA) this summer, following presentations at the Institute of Contemporary Art in Philadelphia and the Graham Foundation in Chicago. The exhibition collects works from four decades in the artist’s career, from the 1970s to present. Barbara Kasten: Stages is the first major survey of the artist’s work, incorporating her sculptures and photography with documentation of her artistic process. According to curator Alex Klein, “stages” refers both to the stages of the artist’s career and her own process of staging sculptures in space.
The exhibition includes many of Kasten’s most well-known photographs from the Architectural Sites series, in which she abstracted works of postmodern architecture, like Frank Gehry’s Loyola Law School using an elaborate staging of light, sculpture, and mirrors and then printed them using the dye-destruction method Cibachrome for better depth of color and clarity. Stages will also include Kasten’s work with cyanotypes, which use the same technique used to make blueprints, and her early work with furniture sculptures.
The Museum of Contemporary Art Pacific Design Center 8687 Melrose Avenue West Hollywood, CA 90069 Through August 14