I make abstract sculpture using mostly steel, wood, and paint.
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Stephen Cartwright talks about turning his personal information into abstract sculpture.
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Then move to your taste — do you like photography, drawing, abstract, sculpture?
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An abstract sculpture frames a construction project near Meixi Lake Development, Changsha, Hunan province.
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They didn't see the point of the abstract sculpture they were encouraged to make.
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The watercolors sold well, as did a large abstract sculpture, which sold for $200,000.
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There's a smoking frog surrounded by buckets of house paint casually brushing an abstract sculpture.
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It's a bit of a Surrealist joke, a bit of an abstract sculpture and comfortable to sit in.
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I see Star Trek on the asymmetrical tonneau cover that's more of an abstract sculpture than a practical element.
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Truman Lowe's parents were basket makers; he responds by unweaving a basket to create the elegant abstract sculpture "Waterfall" (1993).
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An abstract sculpture of papier-mâché, brightly painted in fluorescent colors and lit by black light, was hung from the ceiling.
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"Bright Future" (2017) could be an abstract sculpture of a witch's hat, or perhaps a frayed textile, heavily used during arcane rituals.
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Another highlight is a sculpture by Antony Gormley called Pole II, an abstract sculpture on the human body and the space it inhabits.
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This painting features the rendering of a pale abstract sculpture that looks like snow-covered road-kill or the morphology of a fart.
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It demonstrated that the male-centric, canonized accounts of the development of post-war, abstract sculpture have unjustifiably left aside many brilliant women artists.
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Contestant Abigail DeVille is the youngest sculptor included in Hauser, Wirth, & Schimmel's monumental Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 exhibition.
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However, the radical shift in scale backfires in some cases, suggesting an artist's full-scaled abstract sculpture as little more than monumental bling bling.
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A bronze abstract sculpture which previously sat near the check-in desks was unveiled in a new site by the approach road to the terminal.
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Chunks of chaga sourced from the Adirondacks sit atop shelves like abstract sculpture and even the tiles covering the service counter are crafted from mushrooms.
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The pastry chef, Stephanie Prida, stacks three egg-shaped scoops not in a sundae cup but one on top of another, like an abstract sculpture.
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Advertise on Hyperallergic with Nectar Ads For over three decades, Martha Graham danced her most compelling choreography on and around the abstract sculpture of Isamu Noguchi.
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When Katchadourian plops a lemon wedge on an image of a baseball field, scale becomes jarringly inverted and the fruit slice becomes an enormous abstract sculpture.
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At the front of this array, three women in dresses resembling abstract sculpture, with their faces decorated with white paint and huge piles of hair braided together.
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Among the collages and magazines, voice recordings, and abstract sculpture, I linger inside a shed with a stuffed dummy with one white, right hand as rap music plays.
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The most prominent spring show is "Revolution in the Making: Abstract Sculpture by Women" at Hauser Wirth & Schimmel, the inaugural exhibition of the gallery's new Los Angeles branch.
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It was installed on a highway in Denmark, but while it may look like an enormous stone, it's actually an abstract sculpture made from wood and papier-mâché.
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An "abstract" sculpture that also stands as a trashed painting doesn't seem an impossible experiment to add to those — even if it might seem more failed than successful.
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She proposes to trace, through the work of 34 women of different generations, an alternative strand of art history, a history of hands-on, largely studio-produced abstract sculpture.
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It is an abstract sculpture composed of identical modules assembled according to the simple plan documented in the title: a thirteen-by-thirteen grid from which three towers rise.
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Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016, is on view at Hauser, Wirth and Schimmel (901 E 3rd Street, Downtown Los Angeles) through September 4, 2016
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The first was "Primary Structures: Younger American and British Sculptors," a show of new abstract sculpture at the Jewish Museum in Manhattan in 1966, during a hiatus from the Modern.
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The debut exhibition, Revolution in the Making: Abstract Sculpture by Women, 22–26, is a knockout revisionist survey featuring almost 24 works by 34 artists created over the past 70 years.
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Conceived as a single immense installation, it's dedicated to more than 4,000 African-Americans who were lynched by white Americans, and evokes their deaths in a language of stripped-down abstract sculpture.
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Ms. Schoenstadt said that she had the idea for a group photograph after seeing Hauser Wirth & Schimmel's debut show, "Revolution in the Making: Abstract Sculpture by Women, 1947-2016," which closes on Sunday.
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In particular, we really need to have a large survey exhibition looking at "New Generation" abstract sculpture — there hasn't been one since Alistair McAlpine's collection was gifted to the Tate Gallery in 1971!
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These woozy stand-in forms have a surreal, dreamy, and vaguely nostalgic aspect that reminds me of the indecipherable lyrics from a fuzzy shoegaze band or a 1950s British abstract sculpture; like Reg Butler's.
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This oddly flat abstract sculpture sits on a low-pedestal near an indecipherable portrait painting, behind two diminutive horse sculptures and a buttery statuette of a woman; all set in a chic park-side penthouse.
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Bailie's wind-down unit also contains smaller and more esoteric assets that are the legacy of RBS's expansion, including an abstract sculpture called 'Rock Form' by Barbara Hepworth housed in a shopping center owned by RBS.
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The visitor could not frame the photo to his liking, so he wrapped his arms around the abstract sculpture, which was the size of a person, and turned it on its pedestal to get the best angle.
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Humans and Other Animals captures a subtle transition as Frink, working against critical opinion that made abstract sculpture de rigueur in the 1960s, settles into a confident naturalism, simultaneously expressionistic and poetic, that would guide the rest of her career.
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The Palestinian, London-based artist Mona Hatoum's 1999 piece "La grande broyeuse (Mouli-Julienne x 17)," an 11-foot-high hand-cranked steel vegetable slicer, makes a quiet but effective joke about macho abstract sculpture, even as it entertains with its outlandish scale.
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It's funny to think that a worthless piece of chewing gum could be more visually complex, and arguably more interesting to look at, than many an abstract sculpture, and heady to consider how many thousands of such detailed relics we're casting off all the time.
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Those artists, virtually all of who remain productive today, challenged accepted norms of traditional abstract sculpture, as well as the premises of the nearly contemporaneous Minimalists — whose serially monolithic "specific objects," as Donald Judd referred to them, also posed a threat (at least for a while) to established taste.
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Meanwhile, in Jackie Robinson Park, Rudy Shepherd has created a giant "Black Rock Negative Energy Absorber" (2016) out of wood, metal and concrete — a quasi-abstract sculpture designed to exude positive energy and cast out bad mojo in a society in which black bodies are still under siege, and in a rapidly gentrifying Harlem.
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Büttner further explores the concept of shame in her various uses of moss: an abstract sculpture made of gypsum approximates the feeling and texture of moss; a collection of stereoscopic slides created by Harold and Patricia Whitehouse includes 3D close-ups of different moss varieties; and a slab of limestone is host to live, growing moss.
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When I walked into Hauser, Wirth and Schimmel's inaugural show, Revolution in the Making: Abstract Sculpture by Women, 24–22016, I noticed the works by Bourgeois first, a similar set of carved, wooden obelisks that seem ceremonially cryptic, resolutely phallic, modern, and ancient together that had drawn me in as a child at the Museum of Modern Art for the first time.
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While Stella's assumptions regarding Minimalism as well as contemporary abstract sculpture \ are based on the relationship between a moving spectator and a stationary object, cinema posits a moving image in front of a stationary spectator, reversing the terms of the equation, There is a particularly cinematic dimension to Stella's career, not necessarily in the specificity of the medium but in the speed of his artistic development.
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The tall abstract sculpture is made of enameled aluminum, and rests on a concrete base.
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Jean Arp's abstract sculpture Cupulate Fruit. Under a group of trees at the southern end of the street stands Jean Arp's abstract sculpture Cupulate Fruit. It was installed at the site in 1979. In front of Copenhagen University Library's gable towards Frue Plads stands a monument to the geophysicist Inge Lehmann.
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It was unveiled in 1974 and used to be the only piece of major abstract sculpture in Leicester City Centre.
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Eagle is an abstract sculpture by Alexander Calder."Eagle, (sculpture)". SIRIS It is located at the Olympic Sculpture Park, Seattle.
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In 1950, Çalık started to make abstract sculptures. He started with traditional classic sculpture and slowly moved more towards abstract sculpture with time.
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John Cullen Nugent was a Canadian artist and educator known primarily for his public art works, often in the form of abstract sculpture.
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Created by Charles Daudelin in 1973, Allegrocube is a cube-shaped abstract sculpture outside the Palais, 2.4 m in height, made of bronze.
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Contact II is an outdoor 1972 abstract sculpture by Russian American artist Alexander Liberman, located at Jamison Square in the Pearl District, Portland, Oregon.
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Untitled, 1989, is a bronze abstract sculpture by Joel Shapiro. Constructed in 1989, it is located at the National Gallery of Art Sculpture Garden.
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Play is an abstract sculpture by Lars Jonker. It is located in Hendricks Park, in the historic Bates-Hendricks neighborhood, south of downtown Indianapolis, Indiana.
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The auditorium and religious school on Longwood Avenue were supplemented by a new, modernist sanctuary. Outside on the Riverway was an original abstract sculpture by Louise Nevelson, Sky Covenant.
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The abstract sculpture, installed at the corner of Van Ness Avenue and Hayes, outside Louise M. Davies Symphony Hall, measures 8 ft. 5 in. x 5 ft. 8 in.
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The seventeen-foot stainless steel sail abstract sculpture symbolizes when timber was carried by schooners to Great Lakes ports from Ludington. It is the first sculpture seen from boaters who spend leisure time on the waters of Lake Michigan as they come back into the Ludington harbor. The abstract sculpture was created by Russian-born sculptor Irina Koukhanova. The Schoenherr family purchased the sculpture and donated it to the WaterFront Park at the Ludington harbor.
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Three Way Piece No. 2 (The Archer), (1964–65) has been on display in front of alt=Photograph of a large bronze abstract sculpture, in front of a glass and concrete building.
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The abstract sculpture is approximately 12 ft. tall and 16 ft. wide, and weighs 2.5 tons. It was commissioned by the commissioned by the General Services Administration and commemorates John F. Kennedy.
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An abstract sculpture was chosen by the University to highlight the importance of the events at the site, and their implications for humanity, rather than the importance of Fermi in bringing them about.
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Composition for the Axemen is a steel abstract sculpture painted deep red, a color requested by Sam Rose, who commissioned the work.Goode, John Washington Sculpture. The Johns Hopkins University Press, 2008, p. 20.
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Churchill station includes two pieces of public art. The first, "Ridden Down" is an abstract sculpture using welded steel that was installed in 1996. The second is a mural entitled "New Year's Eve".
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The site of statue now houses a green, abstract sculpture intended to symbolize "freedom", designed by sculptor Bassem Hamad al-Dawiri and built by a group of artists calling themselves, Najin (The Survivors).
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Robert Rowland Smith is the subject of an abstract sculpture by Dutch-Monegasque artist, Adeline de Monseignat, entitled Robert.Robert, an abstract sculpture by Adeline de Monseignat, 2013, blown glass, mirroring, chemicals, fabric, name-tag, chair, 50 x 70 x 114 cm Smith is one of the walking companions featured in A London Safari by Rose Rouse. He appears in Monique Roffey's memoir, With the Kisses of his Mouth and in the novel by Nicholas Royle entitled An English Guide to Birdwatching.
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It is a naturalistic interpretation of young boy placed by the large mirror-pool in front of the concert hall. Gudrun Steen-Andersen's own son modeled for the sculpture and today he teaches at the Royal Academy of Music, Aarhus/Aalborg inside the concert hall. Ejler Bille created the abstract sculpture Saurion which is placed in front of the main entrance to the concert hall. Erik Varming designed and donated an abstract sculpture carved from granite, situated behind the amphitheatre.
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A public square has been developed adjacent to Manorhamilton Castle on the former fair green. The square, which incorporates an outdoor performance platform, features an abstract sculpture, sourced from the local Leitrim Sculpture Centre.
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Nike is an abstract sculpture depicting Nike, the Greek goddess of victory, designed by Greek artist Pavlos Angelos Kougioumtzis. Versions of the statue have been donated to every host city of the Olympics since 1996.
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Round About is a public art work by artist Linda Howard located in Milwaukee, Wisconsin at the Lynden Sculpture Garden. The abstract sculpture consists of aluminum bars stacked horizontally; it is installed on the lawn.
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Lodgepole is a public art work by artist Lyman Kipp located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is a T-shaped form painted red; it is installed on the patio.
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Embrace is a public art work by artist Sorel Etrog located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is made of bronze; it is installed on a base on the lawn.
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Untitled (Krol) is made of multiple painted metal panels, most likely steel, that have been welded together and painted red. This abstract sculpture rests on concrete pads and is surrounded by a circular bed of mulch.
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Twist for Max is a public art work by artist Bernard Kirschenbaum located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is a column of twisting aluminum; it is installed on the lawn.
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Ursa Major is a public art work by artist William Underhill located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The trapezoidal abstract sculpture is made of Cor-Ten steel; it is installed on the lawn.
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A red, blue and yellow abstract sculpture, it consists of a variety of curved pieces connected together, with selected pieces resting on concrete for balance.Goode, John Washington Sculpture. The Johns Hopkins University Press, 2008, p. 19.
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Surprisingly, many of these 20 sculptures met a dramatic end or were disturbed, damaged and/or removed from their location, some not even few days after they were erected. Güzel İstanbul, by Gürdal Duyar, is removed from its foundation at Karaköy square, being found 'indecent', and is removed to the Yıldız Park being damaged in the process; İşçi by Muzaffer Ertoran becomes the targeted in attacks; the fate of Nusret Sumans Mimar Sinan is unknown; İkimiz by Namık Denizhan is removed due to 'damage from external factors'; Birlik by Mehmet Uyanık, becomes the victim of a municipal compressor gun in 1986; Yükseliş by Bihrat Mavitran is sacrificed to road construction in 1984; Yağmur by Ferit Özşen suffers natures wrath; the abstract composition by Füsun Onur is removed during Bedrettin Dalans Municipal tenure in 1985; the abstract sculpture by Seyhun Topuz collapses due to 'natural causes' in 1984; the abstract sculpture by Tamer Başoğlu disappears in 1986; the abstract sculpture by Yavuz Görey is believed to have been stolen for its material (bronze) and similarly the abstract sculpture by Metin Haseki disappears for its material (copper).
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Geometric Mouse, Variation I, Scale A Geometric Mouse, Variation I, Scale A is an abstract sculpture by Claes Oldenburg. Examples are located at the Hirshhorn Museum and Sculpture Garden, Museum of Modern Art, and Walker Art Center.
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He shifted from academic concrete sculpture to avant-garde abstract sculpture. In 1950 he was influenced by a sculpture with a hole in the body by the abstract sculptor Henry Moore, and in 1950 he formed a sculpture department in the Association of Movement Art. From 1953 to 1955 he studied in France, participating in many exhibitions such as the Salon de Mai. After returning home, he made geometric shapes combining metal and other materials and became active as one of the pioneers of Japanese abstract sculpture in the 1950s.
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Orizzontale is a public art work by artist Aldo Calo located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture consists of stacked geometricized slabs of bronze; it is installed on a base on the lawn.
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Ad Astra is a public artwork by American artist Richard Lippold. The abstract sculpture is located outside on the Jefferson Drive entrance of and in the collection of the National Air and Space Museum. The sculpture's title is Latin, meaning "To the Stars".
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The abstract sculpture, made of iron welded onto rock, measures approximately x x . It rests on a granite and basalt base that measures approximately x x . The work was surveyed and deemed "treatment need" by Smithsonian Institution's "Save Outdoor Sculpture!" program in August 1993.
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Untitled, is a public artwork by American artist Barney Bright, located at the Jeffersonville Township Public Library in Jeffersonville, Indiana, United States. Untitled was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993. This abstract sculpture represents the Devonian time period.
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Another notable feature of the town is Lord Hill's Column, the largest free-standing Doric column in the world. The Quantum Leap is an abstract sculpture unveiled in the town centre in 2009 to mark the bicentenary of the birth of Shrewsbury biologist Charles Darwin.
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Bojan Šarčević (; born 1974) is a visual artist. His work includes video, installations,Filippo Romeo, Bojan Šarčević - Reviews, ArtForum, Summer 2002. site-responsive architectural interventions,Justin Hoffmann, Bojan Šarčević: Kunstverein Munchen - Munich, ArtForum, Nov 2003. photographic collage, more or less abstract sculpture, and printed publications.
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Dynamic Mobile Steel Sculpture is an abstract sculpture by Canadian artist George A. Norris, hanging in the atrium of the Central Branch of Greater Victoria Public Library in Victoria, British Columbia, Canada. The work is included in at least one published Frommer's walking tour of Victoria.
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Rhythm in Space is a public art work by artist Max Bill located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The abstract sculpture is a column topped by three overlapping rings with the outer edges contiguous to the inner ones; it is installed on the lawn.
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Cubi XXVI is an abstract sculpture by David Smith, in the National Gallery of Art Sculpture Garden in Washington, D.C., USA. Constructed of stainless steel on January 12, 1965, it was purchased in 1978."Cubi XXVI, (sculpture)". SIRIS It was on loan to the White House.
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Lynn Russell Chadwick, (24 November 1914 – 25 April 2003) was an English sculptor and artist. Much of his work is semi-abstract sculpture in bronze or steel. His work is in the collections of MoMA in New York, the Tate in London and the Centre Georges Pompidou in Paris.
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Heinsdorff was born in 1954 in Steinkirchen, Germany. He grew up in Irschenhausen, south to Munich, Germany. He started his career working as a gold smith, wood and stone sculptor before he studied abstract sculpture under Prof. Jacobsen at the Academy of Fine Arts, Munich (1976 to 1981).
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In these troubled times, El Rayess showed political involvement in creating a poster commemorating the assassination of the Druze leader Kamal Jumblatt. Aref El Rayess also developed a practice of abstract sculpture. He was commissioned monumental works for the city of Jeddah, including a piece named "Swords of God (Soyuf Allah)".
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Behnke was born in Hartford, Connecticut in 1946. She initially studied interior design at the Pratt Institute (BFA, 1969), developing an interest in architecture, but switched to art, producing abstract sculpture that reflected the dominant influence of Minimalism and Constructivism.Marberger, A. Aladar. "New Faces/New Images," Ocular Magazine, Winter 1980.
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Tony DeLap (November 4, 1927 – May 29, 2019) was a West Coast artist, known for his abstract sculpture utilizing illusionist techniques and meticulous craftsmanship. As a pioneer of West Coast minimalism and Op Art, DeLap's oeuvre is a testament to his willingness to continuously challenge the viewer's perception of reality.
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Cubi XI is an abstract sculpture by David Smith. It is a part of the Cubi series of sculptures. Constructed in 1963, it was installed on April 21, 1964 at 1875 Connecticut Avenue, N.W. near Sheridan Circle."Cubi XI (sculpture)", SIRIS It is in the National Gallery of Art Sculpture Garden.
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This small park, on the western edge of the neighborhood, is the site of Lars Jonker's abstract sculpture Play. The park also has a small pavilion. Ringgold Park at 1500 Ringgold Street is a minipark with playground equipment. The park was originally constructed in the early 1900s on northwest of its current location.
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Cubi XII is an abstract sculpture by David Smith."Cubi XII, (sculpture)", SIRIS Constructed of stainless steel, completed on April 7 1963, it was purchased from his estate by the Hirshhorn Museum and Sculpture Garden in 1968. It is a part of the Cubi series. He used the shiny finish to contrast with the landscape.
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Agricola I is a 1952 abstract sculpture by American artist David Smith. The artwork is located on the grounds at and in the collection of the Hirshhorn Museum and Sculpture Garden in Washington, D.C., United States. The word "agricola" means "farmer" in Latin. This work is the first in the Agricola series by Smith.
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"Abstraction on the assembly line". ARTnews. Retrieved January 22, 2017. In 2002–03, the Valerie Carberry Gallery in Chicago exhibited Jose de Rivera: Abstract Sculpture, Painting and Works on Paper. On March 12, 1984, at the age of 80, de Rivera died at Lenox Hill Hospital, New York City, five weeks after suffering a stroke.
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Infinity is an abstract sculpture designed by José de Rivera and created by Roy Gussow. It is located at the south entrance of the National Museum of American History, at Madison Drive and 12th Street, Northwest, Washington, D.C. It was dedicated on March 28, 1967. It cost $104,520. It slowly rotates on its base.
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She is on the faculty of the department of art history at the University of California, Santa Barbara. Sorkin was the co- curator (with Paul Schimmel) of Revolution in the Making: Abstract Sculpture by Women 1947–2016, the inaugural exhibition at Hauser Wirth & Schimmel in Los Angeles. The exhibition features sculptures by 34 women artists.
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In the space in front of the town hall stands a water feature. It was created by Allan Smidt and was inaugurated on 1 October 1978. It is an abstract sculpture with two organic figures and consists of circa 500 glazed ceramic tiles in white, blue and reddish-brown colours. The tallest figure is 2.5 metres tall.
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Pettit, Dawn "The Artists; Creative Expression is a Way of Life for these Nine Locals" Orange Coast Magazine, Sept. 2006 p.83 In 2007 he debuted his B-Side, a more serious body of abstract contemporary work featuring light paintings, underwater photography, and 3D Abstract sculpture printed on both traditional and nontraditional materials (plexi-glass and metal).
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The abstract sculpture, dedicated on July 4, 1985, depicts a walking figure setting a bird free. It measures approximately 15 x 6 x 5 ft., and rests on a base that measures approximately 48 x 53 x 72 in. A plaque on the base reads: The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1994.
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Points of View is an outdoor 1991 sculpture by James Surls, installed at Market Square Park in Houston, Texas, in the United States. The abstract sculpture is made of treated pine and painted steel, and measures x x . It is mounted on a concrete base that measures x . The work was dedicated in 1992, following Market Square Park's renovation during 1991–1992.
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Tecotosh, designed by Ed Carpenter, is located outside the Maseeh College of Engineering and Computer Science at the intersection of Southwest 4th and College on the Portland State University campus. The abstract sculpture is made of a stainless steel truss, cables, hardware, laminated dichroic glass, and lights. The Smithsonian Institution lists the Northwest Center for Engineering, Science and Technology as the work's owner.
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Early One Morning is a 1962 sculpture by British artist Anthony Caro. It has been held by the Tate Gallery since 1965. The abstract sculpture is an arrangement of metal parts painted red, with no obvious focus or representative elements. It comprises a collection of planes and lines arranged along a horizontal axis, with an appearance of lightness that belies its heavy construction.
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The Christmas tree in the Grand Place in 1979 The Brussels Christmas tree is a Christmas tree erected annually in the Grand Place, Brussels, Belgium. It has traditionally been a real tree either from the Ardennes forest, from the city of Helsinki or from different countries as diplomatic gift, except in 2012 when it was replaced with an abstract sculpture.
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A modern artistic representation of the axis mundi is the Colonne sans fin (The Endless Column, 1938) an abstract sculpture by Romanian Constantin Brâncuși. The column takes the form of a "sky pillar" () upholding the heavens even as its rhythmically repeating segments invite climb and suggest the possibility of ascension.Mircea Eliade. 'Brâncuși and Mythology' in Symbolism, the Sacred, and the Arts.
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An untitled neon sculpture by Cork Marcheschi is mounted on the southern wall of Friendship Way. It is about 10 feet above the ground and extends for nearly 80 feet east to west. This abstract sculpture consists of colored neon lights housed in 13 multicolored, translucent Plexiglas shapes. For each shape, the Plexiglas panels are held together with an aluminum frame.
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"A Bridge Across and Beyond" is a welded bronze abstract sculpture which sits, surrounded by fountains, within a large reflecting pool. The sculpture consists of two massive pyramid-like structures that bend towards each other, symbolizing both Africa and the descendants of Africans in America; the "bridge" is formed by abstract African symbols reaching across from each pyramid to the other.
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The abstract sculpture here represents the saga hero Egill having his dead son in his arms. The title Sonartorrek is referring to a poem which Egill Skallagrimsson wrote about this scene. Ásmundur died in Reykjavík on 9 December 1982. In 2015, his statue of poet Einar Benediktsson was moved to a spot near Höfði house in Reykjavik, where the poet had lived.
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Entangled, 2004, is an abstract sculpture created by Indiana-based artist Brose Partington (American b. 1979). The sculpture is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus at the Herron School of Art and Design, 735 W. New York Street in Indianapolis, Indiana, in the United States. It was given to Herron by Ezra Freidlander and Linda H. Freidlander in 2005.
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Dobronyi was one of the best known men in Havana. Old tourist literature credits Dobronyi as the founder of The Cuban Art Center in 1951. It was a cooperative attempt to provide a broader audience for the artists of Havana and the island and to stimulate the sale of their works. He had always been interested in Cuban culture and specialized in primitive, semi-abstract sculpture.
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At the Fine Arts Academy, he was a student of Rudolf Belling between 1940 and 1948. From 1950 to 1951, he worked in Paris, France. He self funded his trip to Paris, where he learned much about sculpture, there he worked at the abstract sculpture Atelier at Rue Grand Chaumiere. He worked freelance until 1959, and then started teaching at the Fine Arts Academy.
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In front of Gentofte Town Hall, there is a group of sculptures called "The Freedom Monument," designed by Axel Poulsen in 1954. Next to it is a water feature from 1978 by Allan Schmidt, featuring an abstract sculpture with two organic figures. The sculpture was created in collaboration with Royal Copenhagen, consisting of circa 500 glazed ceramic tiles in white, blue, and reddish-brown colors.
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Her work is based on the ideas of functional pottery, decorative architecture and abstract sculpture but her interest is in how her ideas involve and inform the material.Brown, Glen R. Annabeth Rosen: Between Drawing and Sculpture, Ceramics: Art and Perception, 2008, No. 72, 62–64. Another underlying theme in Rosen's work is violence. When she was a child she often watched violent action films.
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Herbert Ferber designed an abstract sculpture of welded copper and stainless steel titled Full Circle: Profile in Courage, which is in the interior light court. New England Elegy, a controversial mural by Robert Motherwell,Library of Congress record of New England Elegy. occupies the area between the towers and the low-rise building. Revolving exhibits in the building often focus on aspects of Kennedy's life and presidency.
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Lescaret appealed directly to Joyce, who promptly wrote the eight lines requested. The first 100 copies of Joyce's book were printed on Japanese velum and signed by the author. It was hand-set in Caslon type and included an abstract portrait of Joyce by Constantin Brâncuși, a pioneer of modernist abstract sculpture. Brâncuși's drawings of Joyce became among the most popular images of him.
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This corten steel abstract sculpture is described as "resembling a head, either human or animal, with appendages." It has no base—the entire piece rests on the ground. This sculpture, sometimes called Bison, was a gift to Howard University by Hobart Taylor, Jr., a former member of the Board of Trustees. Taylor died in 1981 and the sculpture was dedicated to the university on December 2, 1981.
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Ex Stasis is a public art work created by American artist Richard Lippold and located on the campus of Marquette University in downtown Milwaukee, Wisconsin. The abstract sculpture is a series of angular metallic planes set on a concrete pedestal. It is located near Marquette's Haggerty Museum of Art, but used to be the centerpiece of the west courtyard of the Alumni Memorial Union.
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Ruins X is a public art work created by American artist Ernest Carl Shaw and located at the Haggerty Museum of Art on the campus of Marquette University in downtown Milwaukee, Wisconsin. The abstract sculpture is part of a series of works in which the artist explores concepts of weight, balance, and order. It is located between Marquette's Haggerty Museum of Art and Helfaer Theatre.
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The Sean Collier Memorial is a large abstract sculpture located on the campus of the Massachusetts Institute of Technology in Cambridge, Massachusetts. It was designed by MIT faculty and students in memory of Sean Collier, a beloved member of MIT Campus Police, who had been killed by the Boston Marathon bombers on April 18, 2013. The complex project was completed in less than two years, and dedicated on April 29, 2015.
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Caresse refused, insisting that a literary master would never alter his work to fix a printer's error. Lescaret appealed directly to Joyce, who promptly wrote the eight lines requested. The first 100 copies of Joyce's book were printed on Japanese vellum and signed by the author. It was hand-set in Caslon type and included an abstract portrait of Joyce by Constantin Brâncuși, a pioneer of modernist abstract sculpture.
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Retrieved 12 February 2014. In 2008, Gontarski created Ob 8, a bright red abstract sculpture which stands 5 metres high and is made of painted and lacquered glass-fibre-reinforced plastic. The organic shape of the work has been described as "recognisable but not identifiable, conjuring comparisons to many things in the real world: clouds, organs, oceans, smoke rings."Ob8 Central Saint Giles, 2014. Retrieved 12 February 2014.
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Brian Borrello's Silicon Forest (2003) is an abstract sculpture made of stainless steel and light-emitting diode (LED) lights, installed at the Interstate/Rose Quarter MAX Station in Portland's Lloyd District. It depicts a series of trees with thin trunks and cone-shaped foliage. The piece has been called a "three-part metaphor for displacement and change". The solar artwork's steel trees illuminate using electricity powered by solar panels.
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There are two distinct architectural traditions in Andhra Pradesh. The first traces back to the building of the city of Amaravathi under Satavahanas. This unique style of architecture emphasises the use of intricate and abstract sculpture with inspiration from religious themes. The second tradition draws on the enormous granite and limestone reserves of the region and is reflected in the various temples and forts built over a very long period of time.
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V Shaped Abstract Sculpture, is a public artwork by an unknown artist located at the Pentecostal Assemblies of the World headquarters in Indianapolis, Indiana, United States. The sculpture sits in front of the entrance to the building and is made of concrete. The piece has two large separate concrete forms that appear to be growing from the ground and separate halfway into an abstract v-shaped form. The piece stands at 7 × 7 × 6 feet.
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During the 1970s Di Modica has primarily been focused on extremely abstract sculpture, often trying to balance two opposing materials together in single works. In the early 1980s he began focusing on the form of the horse. His first major depiction of the horse was a very abstract large scale stainless steel work which was exhibited in Trump Tower in 1984. This sculpture marked a return to a more form-based focus.
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Piscator, also known as the Euston Head, is a large abstract sculpture by Eduardo Paolozzi. It was commissioned by British Rail in 1980 for the forecourt of Euston Station in London, and is named for the German theatre director Erwin Piscator. The sculpture is made from cast iron with an aluminium finish, and was cast by the ironfounders Robert Taylor and Co. It measures . In making the work, Paolozzi was assisted by Ray Watson.
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It's part fish, part space creature." Mimir was installed at Northwest 27th Avenue between Northwest Upshur and Thurman Streets in 1980, after being commissioned by the Portland Development Commission and Tom Walsh of Tom Walsh Construction. The abstract sculpture measures approximately x x , which rests on a concrete and stone base that measures x x . The Smithsonian Institution described the work as follows: "Decorative obelisk with a mask mounted at the top.
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The sphere is executed in shiny metal, while the rest of the lamp has a matte metal surface. The whole fixture is 10.6 cm high, 19.5 cm wide and 28.5 cm long. With its simple and very functional forms, the lamp looks like a small abstract sculpture. It is inspired by the avant-garde art movement De Stijl, of which Oud was a member till 1922, and by the geometric forms used by the Bauhaus.
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Gershuni's artistic path began with abstract sculpture, strongly influenced by pop art. His first solo exhibition was mounted in 1969 in the Israel Museum. On the walls of the Museum were hung yellowish green abstract paintings in a geometric style, and throughout the space of the exhibition itself were strewn objects made of soft materials influenced by the sculptor Claes Oldenburg.See: Gideon Ofrat, "Gershuni in Gray," Studio 40 (January 1993): 22 [Hebrew].
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Belo Horizonte, abril de 2007. v.10, n.1 Victor Brecheret was the leading name for introducing Modernist taste into Brazilian sculpture, seconded by Quirino da Silva, Lasar Segall, Antônio Gomide, Elisabeth Nobiling, Bruno Giorgi, Julio Guerra, Ernesto de Fiori and Alfredo Ceschiatti. A landmark in this development was the 1951 São Paulo Art Biennial, which lent abstract sculpture official support by granting first prize to a piece by Swiss artist Max Bill.
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She created an early abstract sculpture. José Luis Cuevas called her the first artist in Mexico to discover abstract art. At the end of the 1930s, she joined the Sociedad Mexicana de Grabadores and worked under Carlos Alvarado Lang. Her best work here was in mezzotint which stands out with its play on light and shadow. She created the aquatints for a 1947 book by Roberto Lago called “Títeres Populares Mexicanos” (Folk Mexican Puppets) .
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Richard Hunt's Build-Grow sculpture displayed on the North entrance of York College, in Jamaica, Queens, New York. (1986) Build-Grow is a sculpture by Richard Hunt, made in 1986 at York College, City University of New York and located in Jamaica, Queens, New York. Build-Grow is a welded stainless steel 156” high semi-abstract sculpture created in 1986, resembling a Tree of Life. It is located before the North entrance to York College at Archer Avenue.
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Holistic Image VIII is a geometric abstract sculpture consisting of a triangle bisected by a pentagon shape with a C-shape cutout on the proper right side, and a curvilinear C-form intersecting proper left front face. Standing sixteen feet tall and sixteen feet wide, it was crafted from a single plate of 1-inch thick raw steel. The artist's monogram, a "G" with a "b" inside, appears on the proper right, back of the sculpture.
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The American artist Alexander Calder created the abstract sculpture Mercury Fountain (1937). The involvement of a non-Spanish artist was also an important statement in an era dominated by the rise of nationalism, both in democratic and totalitarian regimes. Even in democracies, voices called for a return to a more representational style. For instance, some criticized the central place given to Picasso's Guernica because it was not explicit enough in its denunciation and was too complex.
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In this role he endorsed the initial proposal, featuring monumental statues of airmen and ground crew, for the Royal Australian Air Force Memorial to be located on Anzac Parade, Canberra. The design ultimately approved by the final selection panel, however, was an abstract sculpture that was subsequently described as reflecting a "comprehensive failure to understand the nature of air force service".Stephens, Going Solo, pp. 452–453 McCauley visited RAAF units in Vietnam in October 1966.
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In 1963, Gropius and Glaser saw sculpture by artist Dimitri Hadzi, who worked in Modern abstract forms, and decided Hadzi's style would be appropriate for the federal building. They commissioned Hadzi to produce a bronze sculpture called Thermopylae, which is located in front of one of the towers. The abstract sculpture was created in 1966 and inspired by President Kennedy's book, Profiles in Courage, and his war record. Two other artists created tributes to John F. Kennedy.
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Although she came to prominence in the latter 20th century, Gurría is not a member of the Generación de la Ruptura, which rebelled against the artistic precepts of its predecessor, Mexican muralism. The main reason for this was that she spent much of the 1960s working on monumental sculptures with more traditional designs. However, she did became one of the pioneers of abstract sculpture in Mexico. Gurría’s early works were figurative, mystical and even religious in nature.
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Komani Hexagon The layout of the town reflects its original objective as a defensive stronghold for the frontier area and has a most unusual design. There is a central hexagonal area where canon or rifle fire could be directed down six thoroughfares radiating from the centre. The canon sites have now been replaced with gardens and a central fountain was the dominant feature. A striking abstract sculpture replaced the fountain as part of the town's 150th anniversary.
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Agop is known for an ascetic approach to abstract sculpture, mainly using black granite and basalt. In his own words on minimalism, "Simplicity is very complicated". Agop's work has also often been described as "Contrasting Art" where the contemporary and the ancient meet; his artistic presence springs from his cross-cultural philosophy. "The ancient and the contemporary may seem very different, but I think the essentials are the same", he said in Art Plural: Voices of Contemporary Art (2014).
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During her career Bhaduri has created works in a variety of styles, including abstract art, landscapes and figurative paintings. Although she primarily works in oils, in 2002 she also experimented with abstract sculpture. Her paintings were purchased by many private collectors, including Gayatri Devi, Ajay Piramal, Aditya Vikram Birla and Jamshed Bhabha (former chairman of Tata Sons). As well as shows in her native India, Bhaduri's work has also been the subject of a solo exhibition in Dubai.
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Spirit Keeper is a stainless steel abstract sculpture consisting of a leaf-shaped form perched atop a form that is rectangular at the bottom at narrow at the top. These two pieces are welded together to create the sculpture. The entire sculpture is 78 inches tall and sits on a metal base 40 inches square, which is bolted to a cement slab. The surfaces of the sculpture are shiny stainless steel but have been lightly sanded to create a pattern in the steel.
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An abstract sculpture by Hubert Dalwood, from 1962, has been positioned on the lawn inside the college. Dalwood also designed the fountain in the pool in the upper quadrangle, although his plan for a spray of water was not implemented, "leaving the sculpture with no obvious purpose". The corner of New Road (right) and Worcester Street (left) The hall has a floor of black and white marble and arches made of concrete supporting an oak roof with red panels.Jebb, p.
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The sculpture won a competition organised by the Sibelius Society following the composer's death in 1957. Although her abstract sculpture of pipes is now well regarded as an important Finnish landmark, its initial reception was controversial. The objection centred on the abstract design; and although the design looked like stylised organ pipes, it was known that the composer had created little music for organs. To address her critics' concern, she was required to add Sibelius's face beside the main sculpture.
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Peter Reginato (born August 19, 1945), is an American abstract sculptor and painter. Reginato was born in Dallas, Texas, but grew up in the hills outside Oakland, California, attending the San Francisco Art Institute from 1963 to 1966. He began making abstract sculpture in 1965 and moved to New York City in 1966 to pursue his career as a sculptor. In 1967 he was included in several group exhibitions including showing a major piece at the Park Place Gallery in New York City.
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Twenty Four Hours is a 1960 painted steel sculpture by Sir Anthony Caro, located in Tate Britain, central London, England. It was purchased by Tate in 1975. The sculpture is important in the history of British sculpture since it is Caro’s first abstract sculpture and his first welded sculpture. It was previously owned by the American art critic Clement Greenberg, who Caro met, although with abstract painters such as Kenneth Noland, during a visit to the United States in 1959.
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Plaque for the sculpture, 2018 Salmon Cycle Marker is installed at the intersection of Southwest Broadway and Jackson, just west of the Native American Student and Community Center on the Portland State University campus. The abstract sculpture, made of wood, bronze, and stainless steel, depicts salmon in the Columbia River Gorge, and their journey from birth to spawning. Its pole is made from three trees that fell during the 1980 eruption of Mount St. Helens. Images of salmon eggs appear at the base.
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The piece is tall, or x x , and weighs between 400 and 700 lbs. The work is administered by the Regional Arts & Culture Council (RACC), which has described the work as an "abstracted human figure on three legs with multiple short appendages on the torso and shoulders". Furthmore, the agency offers the following description of Talos and the sculpture he inspired: RACC's public art collection manager has said Talos No. 2 is an "excellent" example of abstract sculpture from the 1970s.
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She is also trained in acting and educated in Earth culture and history and the English language by Skrull tutors. She is also talented as a creator of abstract sculpture. In the Secret Invasion storyline, she regained her energy powers through unspecified means, as well as the ability to resist the incredible levels of heat and flame the Human Torch can generate. Lyja has also been seen manifesting dragon-like wings through her shape-shifting powers, enabling her to fly.
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The Hotel has 185 rooms, 24 suites on the first six floors and 42 furnished service apartments called The Residence on the top two floors. Each of the hotel’s guestrooms are among the largest in Hyderabad, measuring at least 463 square feet. The lobby is designed with sparkling water feature and plants that surround a 35-foot tall white abstract sculpture. Park Hyatt Hyderabad is the first hotel in India to feature Hyatt’s residential-style meeting concept named The Manor.
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In 1967, the abstract sculpture, Infinity, was dedicated at the National Mall entrance. Designed by José de Rivera and created by Roy Gussow, it was one of the first abstract sculptures displayed at a major public building in Washington D.C. The sculpture is a , polished stainless steel ribbon on top of a granite tower. Alexander Calder's sculpture, Gwenfritz, was installed in a fountain on the west side. The steel abstract stabile was dedicated to the museum on June 2, 1969.
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Entangled is an abstract sculpture consisting of eight unique elements bolted together to create an enclosed form. The powder coated steel sculpture measures 108” x 88” x 98” and is constructed from rolled steel tubes and fabricated steel circles. The base of the sculpture is mounted on a 16' diameter concrete pad in the Herron Sculpture Garden. The curved support structure at the base of the sculpture references the shape of a bird’s nest as it encloses and supports the sculptural elements.
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12 In the 1970s, efforts commenced to revitalize downtown Rockford, once the primary shopping district. In a highly criticized decision, the city reconfigured several blocks of downtown into a pedestrian mall, closing off the Main Street/West State Street intersection to traffic. In the late 1970s, Symbol, a 47-foot tall Alexander Liberman abstract sculpture was placed in the center of the pedestrian mall. To further attract commercial growth, the MetroCentre 10,000-seat multi-purpose arena, was opened in 1981.
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Invited by Claudio Abbado, Cimarelli's first abstract sculpture exhibition was organized by at the Berliner Philharmonie in Berlin, Germany in 1999. Realism Inspired by his conservation experience at the Louvre Museum in Paris, France, Cimarelli moved to figurative sculpture in 1991. Studying techniques from sculptors such as Donatello, Michelangelo, Jacopo della Quercia, and Gian Lorenzo Bernini, he produced sculpture in wood, bronze, stone, and marble. In 2001, he created a marble sculpture of St. John the Baptist that was first exhibited in Oslo, Norway.
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In 1945, Ferber began experimenting in steel-reinforced concrete, abstract sculpture, and metal-soldering. Starting in 1946, he associated with Abstract Expressionist painters, frequented Peggy Guggenheim's Art of This Century, and became more interested in Surrealism. In the 1950s, Ferber began creating "roofed" and "caged" sculpture. In 1952, Ferber completed a commission for the facade of the Congregation B'nai Israel; the result was the relief sculpture "Titled And the bush was not consumed."Jewish art in America: an introduction, Matthew Baigell, Rowman & Littlefield, 2006, p. 108.
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The Schuster Laboratory (also known as the Schuster Building) houses the Department of Physics and Astronomy at the University of Manchester and is named after Sir Franz Arthur Friedrich Schuster. It is located on Brunswick Street, Manchester, as is within the Engineering and Sciences faculty of the University. The building was designed by Fairhurst, Harry S. & Sons, of the Fairhurst Design Group, and was completed in 1967. The roof of the largest Lecture Theatre in the building has an abstract sculpture by Michael Piper on it.
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Three Forms (BH 72) is an abstract sculpture by Barbara Hepworth, completed in 1935. The sculpture was one of the first works completed by Hepworth after the birth of her triplets with Ben Nicholson in October 1934. It marks a point of departure in her style: her earlier abstract works are based on the human form, but Three Forms is more purely abstract, reduced to simple geometric shapes with little colour. Her subsequent work continued in a more formal, abstract and non-representational vein.
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Last was a foundation member of Centre Five, a group formed in 1960 to promote contemporary abstract sculpture in Australia. The group, originally called Centre Four, was founded in 1953 by Hungarian-born Julius Kane, featuring Last, Norma Redpath and German-born Inge King. Centre Five was a splinter group of the Victorian Sculptors' Society comprising members Clifford Last, Inge King, Vincas Jomantas, Teisutis Zikaras, Julius Kane and Lenton Parr. They shared common characteristics in their style and felt that exhibiting together would be to their advantage.
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In response, Number Six makes a deal, agreeing to participate more in Village life — for instance, by entering the craft show — if this puts an end to her torture. Number Six and Nadia become closer and eventually plan to escape. She tells him that she knows the location of The Village: On the Baltic coast of Lithuania about from the Polish border. At the craft show (where every entry except Number Six's is a depiction of Number Two in some medium), Number Six presents his work, a multi-piece abstract sculpture called "Escape".
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Koi at Porter Koi Pond Just to the south of Porter is a signature campus art piece, a large red abstract sculpture which has been endlessly portrayed on UCSC's promotional literature. It is known on campus as "The Squiggle," "The Flying IUD" and "The Porter Wave" in official literature, but is officially "Untitled." Students often gather at this sculpture to play guitar, to watch the sunset, or to even drum on the sculpture itself. On Sundays students gather to participate in a mass Live- Action Role Playing, or LARPING.
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In 1956, Nicolas Schöffer created Cysp 1 (Spatiodynamique Cybernétique), a robot and dancer working together to create an abstract sculpture and choreography with concrete music by Pierre Henry. These works could react to color, sound and light. Survival Research Laboratories, in San Francisco, California, creates large destructive robotic performances to roast contemporary culture and express their distaste for the military-industrial complex. Emergent Systems is creating large-scale interactive art environments where robots are able to respond to humans and each other as they react and evolve in the robotic installations.
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Armenian Heritage Park The Armenian Heritage Park is dedicated to the victims of the Armenian Genocide and acknowledges the history of Boston as a port of entry for immigrants worldwide, and celebrates those who have migrated to Massachusetts shores and contributed to American life and culture. The Park consists of two key features surrounded by seating, brick paving and landscaping. The Abstract Sculpture, a split dodecahedron, is mounted on a Reflecting Pool, represents the immigrant experience. The Labyrinth, a circular winding path paved in granite and set in lawn, celebrates life's journey.
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Popieluszko Court in Hartford, Connecticut, was named in his memory. The SS. Cyril & Methodius Church is located on this street, serving as an important cornerstone for the area's Roman Catholic Polish-American community. The street intersects with Charter Oak Boulevard, with the main entrance to the parking lot of the Polish National Home of Hartford across the street at the end of Popieluszko Court. A two-part monument has been installed in New Britain's Walnut Hill Park consisting of an inscribed stone plaque near an abstract sculpture of an eternal flame.
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The 17 Ramadan Mosque and two of the best-known hotels in Baghdad, the Palestine Hotel and the Sheraton Ishtar, are located on the square. The roundabout in the center of Firdos Square has been the site of several monuments beginning with the completion of the monumental arch The Unknown Soldier in 1959. It was subsequently replaced by the statue of Saddam Hussein that was removed by U.S. coalition forces during the invasion of Iraq in 2003. A green, abstract sculpture by Bassem Hamad al-Dawiri was commissioned to replace the Saddam statue.
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MCM chalkware lamps were often romantic and exotic with a focus on the idealized beauty of historic, natural, and abstract designs. Common motifs were dancers (often sold as a male and female pair), innocent or sensual figures, trees, flowers, animals, zig-zags, waves and modern abstract sculpture typical of the period. One of the most popular motifs were of romanticized, stereotyped Asian, African, Native American, Hawaiian people in exotic (at times inaccurate) settings or costume. Low lighting was sometimes included in the lamp design with small nightlight bulbs.
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Included in his figurative work are the series of new statues he sculpted for the West Front of Salisbury Cathedral which were created between 1998 and 2008.Table of the Statuary of the West Front of Salisbury Cathedral#cite note-2 These figures are the largest set of statues from one sculptor to be added to the Cathedral's West Front since James Redfern in the 19th century. His abstract sculpture, Pendant Line, has been shown inside Salisbury Cathedral in the exhibition, 'Liminality', in 2010.Tristan Cork (22 September 2010).
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In 1963, the Second Vatican Council advocated a retrenchment in religious art and removed the requirement that all Catholic churches have a marble statue of the church's namesake. The decision nearly brought the firm to bankruptcy and saw the closure of many marble-carving and bronze-casting businesses in Pietrasanta. However, Ghelardini was one of the first marble artisans in Italy to recognise the opportunities afforded by abstract sculpture and working with contemporary artists to help them realize the often monumental works which they had designed. It was to become the mainstay of Studio Sem.
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In 2011, 7 of the sculptures were cleaned and restored in the scope of the "sculpture project". Hüseyin Anka Özkans Yankı was worked on for 6 hours under the consultancy of Dr. Üzlifat Özgümü and at the end was reportedly restored to its original state. Within the scope of the restorations the sculptures to be restored till the end of 2012 are the Abstract in Maçka, Bahar in Emirgan Park, the Republic 50. Years Monument in Galatasaray Square, Dayanışma in Fındıklı Park, Figür in front of the Muhsin Ertuğrul Theater, and the abstract sculpture at Bebek children's park.
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A Pilgrimage to the Saga-steads of Iceland W.G.Collingwood, Jón Stefánsson (Holmes, Ulverston, 1899). (The National Museum of Iceland has a collection of his art work related to the book) At Borg á Mýrum, Collingwood found 'the historical homestead, still partly built of oak-beams carved and moulded in the ancient times'. This building has not survived, but there is a twentieth-century monument to Egill by Icelandic sculptor Ásmundur Sveinsson (1893–1982). The abstract sculpture represents him as he grieves for two of his sons, Gunnar and Böðvarr and seeks solace in the skaldic poem Sonatorrek.
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La Antorcha de la Amistad (Spanish for "The Torch of Friendship") is a monumental abstract sculpture by Mexican sculptor Sebastián, installed in Downtown San Antonio, in the U.S. state of Texas. The work was commissioned by a group of Mexican businessmen living in the United States and friends of Mexico, and presented as a gift from the Mexican government to the City of San Antonio in 2002. It was unveiled on June 27, 2002, by the artist, Mayor Edward D. Garza, and then–Secretary of Foreign Affairs for Mexico and political analyst Jorge Castañeda Gutman.Macarena Hernandez.
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Nonetheless, there is a clear continuum to be traced from idealized > images of ancient gods and goddesses to realistic portraits in bronze and > marble. But where in this line of development are we to place the abstract > sculpture that began to appear in the early decades of the twentieth > century? There are, in fact, two continuums—one that leads representational > sculpture from the ideal to the real and another that begins with figurative > imagery and ends with the non-figurative forms of sculptors as different as > the Dadaist Hans Arp and the Minimalists. Rennert, as we’ll see, has a place > on both continuums.
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In 1977, a large yellow metal abstract sculpture by John Henry, entitled Pittsburgh, was installed. In 1999, Stephanie Flom, a research fellow in Carnegie Mellon's STUDIO for Creative Inquiry, embarked on an art garden project, the Persephone Project, whose purpose was "to connect the public to art and the environment by promoting gardening as a contemporary art medium and recognizing gardeners as artists." Pittsburgh's mayor at the time, Tom Murphy, suggested Frank Curto Park, which was widely considered an unused resource. In 2002, Philadelphia environmental artist Lily Yeh installed a circular garden, made entirely from plants donated by local communities.
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Cueto worked in a number of disciplines but is best known for mask making, especially related to theatre and abstract sculpture. He began his career in 1922 as an assistant to sculptor Ignacio Asúnsolo, who work working on renovations to the Secretaría de Educación Pública building . Cueto was a member of the Stridentism movement in the 1920s, when he began to make masks with cardboard and other materials. In 1924 he had an exhibition of these masks at the “El Café de Nadie” affiliated with the Stridentism movement, most based on friends including one dedicated to Leopoldo Méndez .
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Independence Day celebration on the Grand River. In 1969, Alexander Calder's abstract sculpture, La Grande Vitesse, which translates from French as "the great swiftness" or more loosely as "grand rapids", was installed downtown on Vandenberg Plaza, the redesigned setting of Grand Rapids City Hall. It was the first work of public art in the United States funded by the National Endowment for the Arts. The sculpture is informally known as "the Calder", and since its installation the city has hosted an annual Festival of the Arts in the area surrounding the sculpture, now known informally as "Calder Plaza".
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Barlow was also a prolific painter, yet even in this field she recognized they were "sculptural drawings". She painted as part of her curriculum at the Chelsea College of Arts - where she was encouraged to practice by artist and sculptor Henry Moore - and carried on doing so throughout her life as an artist, accruing a vast archive of work. She also has featured in the following publications: Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 by Paul Schimmel and Jenni Sorkin , Phyllida Barlow: Fifty Years of Drawings by Sara Harrison, and Phyllida Barlow: Sculpture 1963 – 2015 by Fiona Bradley.
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Marie Barone is taking a sculpting class, which her daughter-in-law Debra suggested to her. Marie brings an abstract sculpture she did in class to Debra's house and shows it to her, sons Raymond and Robert, and husband Frank. The family is initially impressed, until they later make a realization that it resembles a vagina, although this is unknown to Marie and Frank. Debra, Ray, and Robert get nervous from standing in front of the sculpture, which is worsened by Marie stating she made it as a "gift" for Ray to keep in the house.
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Ohr-O'Keefe Museum's "Pods" by Frank Gehry Ohr died largely unknown in 1918. For decades, his pots sat in a garage behind his sons' gas station in Biloxi. Ohr's work is now seen as ground-breaking and a harbinger of the abstract sculpture and pottery that developed in the mid-20th century; his pieces are now relatively rare and highly coveted. A notable feature of Ohr's pottery is its thin walls, metallic glazes, and twisted, pinched shapes; to this day, few potters have been able to replicate them using a pottery wheel, which is how Ohr made his works.
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The abstract sculpture in a pure white recalls the contemporary architecture of Le Corbusier, and may also have been inspired by Hepworth's visits to the studios of Brancusi and Arp on a visit to France with Nicholson in 1932. Hepworth later accepted criticism from physicist John Desmond Bernal that the elements are all positively curved, and suggested that the work could have been improved by the sphere being replaced by a cylinder. The whole work measures and weighs . It was exhibited at the "7&5" exhibition in 1935 and the "Abstract and Concrete Art" exhibition in 1936.
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During the war she worked as a Civil Defence ambulance driver until she developed rheumatic fever and was given a medical discharge. While recovering Jonzen became convinced that modernism and abstract sculpture was not the way to advance her art and decided to focus on figurative works. The Gardener (1971), located by London Wall After the war Jonzen's figures and sculptures were bought by some important art collectors, including Robert Sainsbury and Kenneth Clark, although otherwise commercial galleries showed little interest in her work. In 1948 she won the Royal Society of British Sculptors' Feodora Gleichen Award for women artists.
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The sculptor John Bridgeman was commissioned in the early 1960s by playground designer Mary Frances Mitchell, to create an abstract sculpture in concrete, for a Birmingham City Council playground, on Curtis Gardens, on a housing estate on Fox Hollies Road in the Acocks Green district of Birmingham, England. It has been described as "fish like". It is the only one of a series of playground sculptures by Bridgeman, who was head of sculpture at Birmingham College of Arts and Crafts until 1981, to survive. It was originally painted in a metallic sheen, but this is now mostly worn off.
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During his years as chancellor, Wells also wrote his autobiography, Being Lucky: Reminiscences and Reflections (1980). Chancellor Wells continued to support the arts, including creation of IU's Musical Arts Center, a performance space that opened in 1972, and the installation of Peau Rouge Indiana, an Alexander Calder stabile (abstract sculpture) in front of the MAC. In addition, the I. M. Pei architectural firm designed the IU Art Museum, dedicated in 1982, to complete the structures on the campus's Fine Arts Plaza, whose development began during Wells's tenure as IU's president.Capshew, "Home Design for Indiana University, " pp. 37–38.
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In 2010, the Museum of Modern Art presented a retrospective of Bontecou's work entitled All Freedom in Every Sense. In 2014, her drawings were exhibited in Lee Bontecou: Drawn Worlds, organized by The Menil Collection, which traveled to the Princeton University Art Museum. Her work was also included in Revolution in the Making: Abstract Sculpture by Women, 1947-2016 at Hauser Wirth & Schimmel in 2016. In 2017, a major exhibition of Bontecou's drawings and sculpture, including a site-specific installation entitled Sandbox, a collaboration between Bontecou and Joan Banach, was organized by the Gemeentemuseum Den Haag.
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Oppenstein Brothers Memorial Park was dedicated in 1981 and is named for the Oppenstein Brothers, who operated a retail jewelry business in Kansas City and were active in the community, and who are the namesakes of the Oppenstein Brothers Foundation, a Kansas City charitable organization established in 1975. The park was formerly the home to the Rain Thicket Fountain by William Conrad Severson and Saunders Schultz. Also dedicated in 1981, this was an abstract sculpture in a stylized tree-like form with wind-moved limbs which shot, dripped, and bubbled water, creating mists and rainbows. The park was redesigned and rebuilt in 2006-2008, with a rededication on April 18, 2008.
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The siren song of MADI called again. All of Roitman's frenzied activity gradually gelled into an enduring passion for a particular style of architectural sculpture where each morsel of his past experience found its niche. Starting with a two-dimensional surface and using only a box-cutter and his own dexterity, he arrived at three-dimensionality – complex abstract sculpture pieces formed from a single sheet of paper. On the surface, this cutout and folded work from the early 80s and 90s might seem a derivative of Japanese origami, but in reality its complex and whimsical nature is closer to children's pop-up books of the Victorian era.
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In 1930 he first exhibited abroad, in the Zürcher Kunstsalon of Dr. Störi. In 1931 he took part in the international sculpture exhibition at the Kunsthaus Zürich. For the Paris World’s Fair in 1937 Lipsi was commissioned to design a gable relief above the Pont Alexandre III entrance portal, and a relief in the Pavilion of the Architects Club. During this early period he created sculptures inspired by Auguste Rodin and works tending towards Art Deco. Despite being friends with Ossip Zadkine and Henri Laurens and in contact with other members of the avant-garde such as Alberto Giacometti, Constantin Brancusi and Fernand Léger, Lipsi’s work remained untouched by abstract sculpture.
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Some Americans, such as Isamu Noguchi, had already moved from figurative to nonfigurative design, but after 1950, the entire American art world took a dramatic turn away from the former tradition, and America led the rest of the world into a more iconoclastic and theoretical approach to modernism. Within the next ten years, traditional sculpture education would almost completely be replaced by a Bauhaus-influenced concern for abstract design. To accompany the triumph of abstract expressionist painting, heroes of abstract sculpture such as David Smith emerged, and many new materials were explored for sculptural expression. Louise Nevelson pioneered the emerging genre of environmental sculpture.
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Spiral Jetty by Robert Smithson from atop Rozel Point, in mid-April 2005 Site specific and environmental art works are represented by artists: Donald Judd, Dennis Oppenheim, Richard Serra, Robert Irwin, George Rickey, and Christo and Jeanne- Claude led contemporary abstract sculpture in new directions. Artists created environmental sculpture on expansive sites in the 'land art in the American West' group of projects. These land art or 'earth art' environmental scale sculpture works exemplified by artists such as Robert Smithson, Michael Heizer, James Turrell (Roden Crater) and others The land art (earth art) environmental scale sculpture works by Robert Smithson, Michael Heizer, James Turrell and others.
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During his stay in Paris, Kakabadze was attracted by "subjectless painting," and worked on problems of pictorial technique, occasionally using metal, mirror glass, stained glass and other such materials in place of paints. He soon went over to an even more "Leftist" position, and paid generous tribute to cubism. He lectured on various aspects of visual arts in Paris and, developing his interest in kinetic form, in 1923 he constructed a film camera that produced the illusion of relief and thus became one of the pioneers of three-dimensional cinema. By the mid-1920s he had rejected his cubist-influenced style in favor of more abstract sculpture and painting.
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Captain James Cook Memorial Fountain (1966) Civic Park, Newcastle, New South Wales Hinder's acknowledged master work is the water sculpture known as the Captain James Cook Memorial Fountain located in Newcastle, New South Wales's Civic Park. Completed in 1966, it was created with steel, copper and granite. In 1969, Hinder's large aluminium abstract sculpture Sculptured Form was selected by the NCDC to be installed in the Woden Town Square. The sculpture had been chosen from the Comalco Invitation Award. Six sculptors were invited to create a 'free- standing work of sculpture which would stand in a public urban space to symbolise the growth and metamorphosis of a typical natural Australian environment into complex development for urban use’.
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Francis Morrone, also of the Sun, wrote: > The new façade ... uses glass bands, or "cuts," rather than conventionally > patterned fenestration, across a plane of ceramic tiles glazed so as to > change color subtly when viewed in different light conditions. For me, I am > sorry to say, it's all scaleless. Where Stone's original building read as > neatly scaled to its setting, Mr. Cloepfil's redesign reads as a piece of > abstract sculpture that, at building scale, seems all wrong. Paul Goldberger praised the new building's "functional, logical, and pleasant" interior in a review in The New Yorker, but wrote: > Ultimately, Cloepfil has been trapped between paying homage to a legendary > building and making something of his own.
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Mondrian's painting "Composition No. 10" (1939–1942) clearly defines his radical but classical approach to the construction of horizontal and vertical lines, as Mondrian wrote, "constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm." Just as there are both two-dimensional and three-dimensional geometries, the abstract sculpture of the 20th century was of course no less affected than painting by geometricizing tendencies. Georges Vantongerloo and Max Bill, for example, are perhaps best known for their geometric sculpture, although both of them were also painters; and indeed, the ideals of geometric abstraction find nearly perfect expression in their titling (e.g., Vantongerloo's "Construction in the Sphere") and pronouncements (e.g.
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In 1976, John Cullen Nugent's No. 1 Northern, a large steel abstract sculpture was unveiled, a work intended to be a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, and designed to represent Canada's hardy top grade, red spring wheat hybrid of the same name. The work was so disliked by some officials, employees of the Commission, the press, and the public, that it was removed in 1978 over the artist's objections and attempts at litigation. In 1997, after a second installation and removal from another federal building in Winnipeg, Nugent's sculpture was reinstalled in front of the Grain Commission building.
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Bloye's replacement at the School of Art when he retired in 1956 was John Bridgeman, one of the first British sculptors to embrace fibreglass, plastics, concrete and fondue cement as sculptural materials and a pioneer of new sculptural forms such as play sculpture and sculpture integrated within buildings' architecture. His arrival marked a break with the city's existing tradition and the decisive ascendency of abstract sculpture. In 1972, a -tall, fibreglass Statue of King Kong, by London pop artist Nicholas Monro, was erected in The Bull Ring as part of a public art initiative. After six months, though, it was sold to a second-hand car dealer who used it as an advertisement.
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In Chris Kraus' novel "I Love Dick", Kraus chronicles the details of Oldenburg threatening legal action towards the University of Missouri Press, Oldenburg requesting photos of him, or any mention of him to be removed for the exhibition catalog. Posthumous retrospectives were shown in Copenhagen, Helsinki, and Malmo, Sweden in 2000 and at the Neuberger Museum of Art from 2008 to 2009. Since her death, Wilke's work has been shown in solo gallery shows, group exhibitions, and several surveys of women's art, including WACK! Art and the Feminist Revolution at the Museum of Contemporary Art Los Angeles, Elles at the Centre Georges Pompidou, and Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 at Hauser & Wirth Los Angeles.
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Oslo Jazz Festival in 2016 On the 40th anniversary of the album's release, Lindsay Johns praised "Mannenberg" in The Spectator, saying that the song was "threnodic, passionate and ethereally beautiful." He went on to state that while "Mannenberg" was specifically about the forced relocation of Coloured people to the Cape Flats, it had also given a voice to poor, oppressed, and marginalized communities across the world. Thus, according to Johns, "Mannenberg" shared with other great music the characteristic of being "both specific and universal." He added: The place where "Mannenberg" was recorded is commemorated with an abstract sculpture of seven stainless-steel pipes, mounted outside the building where the original studios were.
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The stone is inscribed with the Polish Title Zło Dobrem Zwyciężaj: "This human rights monument of common fieldstone and steel is built in memory of Father Jerzy Popieluszko who gave his life to God and to the goals of Solidarność – human rights, justice, peace and freedom for Poland and for all mankind. May this eternal flame of liberty and the memory of his courage and sacrifice burn forever in the hearts of all freedom-loving people. 1947 Good shall vanquish evil 1984" The abstract sculpture of the eternal flame was created by Henry Chotkowski and dedicated on June 16, 1989. An aluminum plaque on the stone wall surrounding the sculpture explains the significance of the sculpture.
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This large steel abstract sculpture is intended as a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, designed to represent Canada's hardy top grade, red spring wheat hybrid of the same name that dominate the Prairies in the fall. The work was commissioned following a process begun as a recommendation by the architectural firm Smith Carter that the recently built Canadian Grain Commission building should be bestowed with a large scale exterior sculpture. Against the objections of Earl Baxter, chairman of the Board of Grain Commissioners, the work was installed in late 1975. Baxter canvassed employees, obtaining 300 signatures in protest shortly after the work's 1976 unveiling.
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Since the beginning of the twentieth century artists have reduced figurative painting to graphic design but called it "abstract art". They also reduced figurative sculpture to object or industrial design without any instrumental function, but called their work "abstract sculpture." In both cases, the artists reduced the figurative symbols to their perceptual components; color and form, or to objects and therefore art ceased to exist as a visual language and in fact became a design of one kind or another. Indeed, artists, designers, curators at art and design museums, lecturers in academies of art and design, and certainly students in both fields, all are not really able to distinguish between the two domains.
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It was noted in a later article that this work was the first abstract sculpture acquired by the 'National Gallery'. At the same time Hinder was the subject of a feature article in the Australian Women's Day and she was exploring rounded wire shapes that would be incorporated in her work in future decades. Margel Hinder's sculpture installed outside the Reserve Bank of Australia in Martin Place In 1953 a sculpture of Hinder's was selected along with sculptures by Tom Bass and John Joseph Bruhn for an International sculptural competition on the theme of The Unknown Political Prisoner. Her work was based on hand movements and was to be installed in water, with the resulting reflections part of the design.
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He became part of the Betty Parson Gallery for 10 years and sold with the likes of Mark Rothko, Hans Hofmann, and Barnett Newman. He was one of the first artists to move into the Westbeth Artists Community in 1970 where he exhibited in their major shows. It was during this period he started with the abstract sculpture technique of Assemblage. He started dividing his time during the mid 1970s between Westbeth NYC and East Hampton, NY. He finally moved permanently to East Hampton in 1981. Dante continued painting and in 1986 he won Best in Show at Guild Hall's Annual Artist Members Exhibition for his mixed media work of “Portrait of Contessa V.” Giglio Dante died at age 92 on December 12, 2006.
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The Grand Tour is a technique developed by Daniel Asimov in 1985, which is used to explore multivariate statistical data by means of an animation. The animation, or "movie", consists of a series of distinct views of the data as seen from different directions, displayed on a computer screen, that appear to change continuously and that get closer and closer to all possible views. This allows a human- or computer-based evaluation of these views, with the goal of detecting patterns that will convey useful information about the data. This technique is like what many museum visitors do when they encounter a complicated abstract sculpture: They walk around it to view it from all directions, in order to understand it better.
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Recent group exhibitions include Fiber: Sculpture 1960–Present, which was held at the Institute of Contemporary Art, Boston and traveled to the Wexner Center for the Arts, Columbus, OH and the Des Moines Art Center, Des Moines, IA (2014–2015) and Revolution in the Making: Abstract Sculpture by Women, 1947-2016 held at Hauser Wirth & Schimmel, Los Angeles. Over the course of her career, Grossen has created numerous large scale works for public places, institutions, corporate offices and hotels in New York, Chicago, Washington DC, Boston, Texas, California, and abroad. Her work is in international public and private collections, including the Metropolitan Museum of Art, New York; the Smithsonian Institution, Renwick Gallery, Washington, DC; and the State Hermitage Museum in Saint Petersburg, Russia.
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Gussow created Infinity, an abstract sculpture, designed by Jose de Rivera, which was dedicated outside the Smithsonian's Museum of History and Technology, now called the National Museum of American History, in 1967. The piece is one of the first abstract sculptures to be placed at a major public building in Washington D.C. The sculpture consists of a 16-foot long curved stainless steel ribbon placed atop a granite column. The piece, which stands 24 feet tall, is located at the entrance to the museum facing the National Mall. In 1974, Gussow's "Three Forms 7-31-75" was dedicated outside of the New York City Family Court building at Lafayette and Leonard Streets in the Civic Center section of Lower Manhattan.
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No. 1 Northern is a large public art work in the form of a steel abstract sculpture by John Cullen Nugent, currently standing where it was originally installed in the fore court of the Canadian Grain Commission building in Winnipeg, in 1976. The work generated controversy from the moment it was unveiled, and even after its removal by ministerial order in 1978. In 1979, Meriké Wiler called it the most controversial piece of Canadian public art ever commissioned during the fourteen years of Canada's public art funding scheme. It was hauled away and cut into pieces on two occasions, before and after being installed in front of another federal government building, and finally reinstalled at its intended location once more in 1997, nearly twenty years after its removal.
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Catalonia has given to the world many important figures in the area of the art. Catalan painters internationally known are, among others, Salvador Dalí, Joan Miró and Antoni Tàpies. Closely linked with the Catalan pictorial atmosphere, Pablo Picasso lived in Barcelona during his youth, training them as an artist and creating the movement of cubism. Other important artists are Claudi Lorenzale for the medieval Romanticism that marked the artistic Renaixença, Marià Fortuny for the Romanticism and Catalan Orientalism of the nineteenth century, Ramon Casas or Santiago Rusiñol, main representatives of the pictorial current of Catalan modernism from the end of the nineteenth century to the beginning of the twentieth century, Josep Maria Sert for early 20th-century Noucentisme, or Josep Maria Subirachs for expressionist or abstract sculpture and painting of the late twentieth century.
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Picasso, who had stayed in Paris, painted but refused to exhibit. He did not paint the war or anything openly political, but he said that the war was in his pictures.Picasso, in Peter D. Whitney, “Picasso is Safe”, San Francisco Chronicle, 3 Sept. 1944, quoted by M. Bohm-Duchen, Art and the Second World War, Farnham: Lund Humphries, 2013, p. 112 Modern art became the bearer of liberal values, as opposed to the reactionary artistic preferences of the totalitarian regimes. Artistic choices embodied different positions in the ongoing ideological battle. Placing Alberto Sánchez Pérez's abstract sculpture,See Dawn Ades (et al.), Art and Power: Europe under the Dictators, 1930-1945, London: The South Bank Centre, 1995 The Spanish people have a path that leads to a star (1937), at the entrance of the pavilion of the Spanish Republic was a political statement.
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Other Minimalists and Postminimalists include Tony Smith, Donald Judd, Robert Morris, Anne Truitt, Ronald Bladen, Giacomo Benevelli, Arnaldo Pomodoro, Richard Serra, Carl Andre, Dan Flavin, Eva Hesse, Christo, Walter De Maria, Robert Smithson, and others like John Safer who added motion and monumentality to the theme of purity of line.National Air and Space Museum Receives "Ascent" Sculpture for display at Udvar-Hazy Center led contemporary abstract sculpture in new directions. During the 1960s and 1970s figurative sculpture by pop artists and modernist artists in stylized forms by artists such as: George Segal, Claes Oldenburg, Arman, Leonard Baskin, Ernest Trova, Marisol Escobar, Paul Thek, Manuel Neri and others became popular. In the 1980s several artists, among others, exploring figurative sculpture were Robert Graham in a classic articulated style and Fernando Botero bringing his painting's "oversized figures" into monumental sculptures.
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Jamie McCartney, based in Brighton on the south coast of England, created the Great Wall of Vagina, made from dozens of casts of real vulvas, showing widespread variation. On 22 October 2001 the television sitcom Everybody Loves Raymond, showed an episode where Marie made an abstract sculpture that many thought looked "inappropriate" While it was clear what it was meant to look like, the "v" word was never used. Aidan Salahova is an Azerbaijanian artist, gallerist and public person. In an article entitled "Vagina Art Veiled at Azerbaijan's Venice Biennale Pavilion, Causing Some to Cry Censorship", Kate Deimling stated that in 2011, Salahova's "Black Stone", a "sculpture depicting the black stone in Mecca venerated by Muslims within a vagina-like marble frame, were both covered up". She was representing the Azerbaijan Pavilion among other national artists at the 54th Venice Biennale.
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Stephens, Going Solo, p. 392 In the 1971 New Year Honours, Hannah was raised to Knight Commander of the Order of the British Empire (KBE). His tour as CAS coincided with the RAAF's Golden Jubilee, celebrated in March and April that year. He personally organised a fly-past of two US Air Force F-111s at air shows marking the occasion, generating favourable coverage to counteract the poor publicity surrounding the type's long-delayed entry into Australian service.Stephens, Going Solo, p. 451 He was also involved in two controversial decisions the same year. Firstly, he was a member of the committee to choose an Air Force memorial to be located on Anzac Parade, Canberra. The selected design was an abstract sculpture that, according to official RAAF historian Alan Stephens, reflected "the selection panel's comprehensive failure to understand the nature of air force service".
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The overall interior was designed by Airbus, who had previously worked with Chapelain-Midy to design sets for a performance of Les Indes galantes at the Palais Garnier in 1952. Slightly forward, the Salon Fontainebleau was decorated by Maxime Old, and within was contained three tapestries by Lucien Coutaud (Les femmes fleurs), two by Claude Idoux (Jardin magique, Fée Mirabelle) and Camille Hilaire (Sous-bois, Forêt de France). Near to that room was the Salon Debussy (Music Room) with three bronze lacquered panels by Bobot, and a bronze abstract sculpture of a young woman playing a flute, by Hubert Yencesse. The theatre's interior was done in red, grey and gold by Peynet, with the ceiling in grey mosaic tile, and the port and starboard walls in vertical gold lacquered aluminium panels, tilted outwards to allow for recessed lighting from behind.
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Cluster 38 (1997) and Stepped Density (1999–2001) reworked the ergonomics of fast-food furniture design and rules governing public space, creating what The Washington Post called "Pop-artish, tongue-in-cheek" sculptures of geometric rigor and high finish "hover[ing] in perfect middle ground between high formalist aesthetics and low commercial culture."Sozanski, Edward J. "Trolling For Clarity on The Future," The Philadelphia Inquirer, 1999. How High Is Up? (2003–4) riffed on architectural models, transforming a still image of an improbable structure made out of chaotically arranged I-beams from a Three Stooges episode into a gleaming, Anthony Caro-like abstract sculpture; with detailed computer renderings and posters comically referencing Frank Gehry- style, Deconstructivist architecture, the installation enacted a cultural leveling, imbuing an object meant to represent human error and chaos with authority and rationality.
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The park's opening ceremony occurred in 1971 and was attended by Princess Anne of England who was presented with a driftwood abstract sculpture by Jean Chrétien, the minister responsible for Parks Canada. The sculpture was the work of local artist Godfrey Stephens. However, the acquisition deadline of 1975 was missed as the two governments and the companies with the timber rights on the provincial crown land, B.C. Forest Products Limited and MacMillan Bloedel, could not reach a compensation settlement. By 1982, the Broken Group Unit and most of the Long Beach Unit had been secured but all of the West Coast Trail Unit was tied up in the disagreement on the value of the timber; an appraisal by the provincial forestry ministry of the value of the timber rights that would secure the remaining lands was deemed unacceptably high by the federal counterparts.
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The inaugural Big Things exhibition in 2002 was the first time the Royal Alberta Museum had ever displayed an exhibition of its kind, featuring nine large, abstract steel sculptures. According to the museum's assistant director Tim Willis, "Dealing with abstract sculpture is not part of our core mandate.... It just goes to show how art can transform an inert public space.Olenka Melnyk, "Big Sculpture, Bigger Worries Burden Artists", Edmonton Journal, July 12, 2004" Artist Ryan McCourt sought out the venue in part for its cultural context, and in part due to the inherent practicality of the site. "The context of it being at a museum was much more appropriate than having it at the Law Courts or outside the Shaw Conference Centre," says McCourt, while also noting that the museum's large stone facade and open concrete terrace space is especially conducive to viewing large sculptures.
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Several versions of Lavatelli's large-scale abstract sculpture in bronze and stainless steel, 1 ½ (1969–70), are in the museum collections of institutions such as Stanford University in Palo Alto, CA and Brown University in Providence, RI. Originally installed on the Stanford campus in front of the law school, 1 ½ was restored in 1996 by Lavatelli and relocated in the Fairchild Chapel. At Brown, 1 ½ has been on view in front of the brutalist high-rise Science Library building since its installation in 1975. Bill Van Siclen, an art critic for the Providence Journal, remarked in a 2007 article that Lavatelli's 1 ½ resembled a “giant chrome-plated engine part,” and that “had she not become a sculptor, [she] clearly had a future as a sports car designer.” In 1978, Lavatelli was commissioned to permanently install a spherical bronze sculpture in a newly created pond at the Botanical Gardens in Freiburg, Germany, which she titled Golden Pond.
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Square Emmanuel-Fleury, a picturesque landscape garden in the 20th arrondissement Square Emmanuel Fleury (1973) in the 20th arrondissement, with an area of 2.34 hectares, is larger than most of the postwar gardens, and, while it has sports fields, including a course for roller sports, it is more in the picturesque Napeoleon III style than the other postwar gardens, with rich flower beds, winding paths, groves of trees and kiosks. Square Sainte- Odile (1976), in the 17th arrondissement, by landscape architect Jean Camand, was one of the first of a new model of gardens which appeared in the 1980s and 1990s; occupying a small space (1.13 hectare), it was divided into different spaces, each with a different style and theme, often radically different; next to a church, it includes a landscape garden in one section; a playground in another, a picturesque butte with a pavilion; a central basin with an abstract sculpture; and a monument to the harpist Lily Laskine.
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She also creates photos with drawings, collages and 3d shapes that are mounted on Bristol board. Overall, Schoenstadt merges the real pictures with imaginary she creates. She blends diverse architecture from different places around the world, and adds a fusion of styles that experiments with the current architecture and virtual reality. She won the Catherine Doctorow Prize for Contemporary Painting in 2011. Another one of Schoenstadt's large projects is an event called “Now Be Here #1,” located in the exhibit “Revolution in the Making: Abstract Sculpture by Women, 1947-2016.” This project was started on August 28, 2016, located in Los Angeles, where she gathered female identifying contemporary artists at a show of contemporary female sculptors in the courtyard of Hauser Wirth & Schimmel and photographed them together. Schoenstadt said, “I had been thinking a lot about the challenges and rewards of being fully present in the different aspects of one’s life. This event was an opportunity to take a snapshot of all the female and female identifying working artists in the LA contemporary art community.
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In April 1973, Smith met with the Regional Committee member, Kenneth Lochhead, and they "mutually agreed" that the building required a major contemporary work of art for the forecourt, determining a budget of $50,000, with Smith to follow up with a list of artists and in July 1974, a competition was proposed between ten invited artists. In January 1975, five artists, Henry Saxe, Ulysse Comtois, John Nugent, Ricardo Gomez, and Hugh Leroy, were chosen by Smith (with Kenneth Lochhead's advice). The Advisory Committee selected Nugent's No. 1 Northern, a large steel abstract sculpture intended as a metaphor for fields of wheat, represented in multi-layer rectangular shapes and painted the "brilliant" yellow of harvest wheat, designed by Nugent to represent Canada's hardy top grade, red spring wheat hybrid of the same name that dominate the Prairies in the fall. The work proved controversial after its installation in late 1975, with Earl Baxter, chairman of the Board of Grain Commissioners, leading a campaign in protest shortly after its unveiling, and by July 1978, they had prevailed: the work was dismantled and reinstalled two years later in front of a Revenue Canada building, only to be removed again in 1993.
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