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Iconography --- Art --- Sculpture --- outdoor sculpture --- fiberglass [composite material] --- heads [representations] --- sculpting --- pillars [structural elements] --- metal --- kleinsculptuur --- human figures [visual works] --- plastic [material] --- Turnbull, William --- anno 1900-1999 --- anno 2000-2099 --- Great Britain
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Iconography --- Sculpture --- Drawing --- drawing [image-making] --- sculpting --- flora [plants] --- Cooke, Liadin --- Ireland
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Iconography --- Sculpture --- Painting --- painting [image-making] --- geology --- volcanoes --- sculpting --- wax --- Kovats, Tania --- anno 1900-1999 --- anno 2000-2099 --- Great Britain
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Bernar Venet is one of France's most celebrated living artists. Having emerged from the late 1960s avant-garde scene in New York, Venet developed a personal aesthetic based on an innovative use of mathematics and science, where control, chance, and chaos converge to form a fine equilibrium while investigating their relationship with the environment. Conversant in many media, Venet is mostly known for his monumental outdoor sculptures in major cities worldwide and, in fall 19, his Arc Majeur is due for completion at a site in Belgium - at almost 200 feet in height (60 metres), Venet's sculpture will be taller than New York's Statue of Liberty.
Art --- sculpture [visual works] --- outdoor sculpture --- public art --- monumental [size or dimensions] --- performance art --- Cor-Ten steel (TM) --- site-specific works --- coal --- Venet, Bernar --- 73.07 --- Beeldhouwkunst ; metaal --- Conceptuele kunst --- Beeldhouwkunst ; beeldhouwers A - Z --- Venet, Bernar, --- Criticism and interpretation. --- Venet, Bernard °1941 (°Château-Arnoux-Saint-Auban, Frankrijk) --- conceptuele kunst --- 73.071 VENET --- 7.071 VENET --- minimal art --- minimalisme --- installaties --- beeldhouwkunst --- eenentwintigste eeuw --- twintigste eeuw --- Frankrijk --- kunst
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INSTALLATIONS (ART) --- SHIRLEY (DIAMOND) --- 20E SIECLE --- EXPOSITIONS
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SCULPTURE ANGLAISE --- SCULPTURE EN PLEIN AIR --- ARMITAGE (KENNETH), 1916 --- -20E SIECLE --- EXPOSITIONS --- 20E SIECLE
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Phaidon's Vitamin series has long proved an extraordinarily accurate predictor of tomorrow's stars. This global survey of today's most important clay and ceramic artists, chosen by art-world professionals, is an essential purchase for art lovers and collectors alike. Clay and ceramics have been elevated from craft to high-art material, with the resulting artworks being coveted by collectors and exhibited in museums around the world. Vitamin C celebrates the revival of clay as a material for contemporary visual artists, featuring a wide range of global talent as selected by the world’s leading curators, critics, and art professionals. Packed with illustrations, Vitamin C is a vibrant and incredibly timely survey – acclaimed as the first of its kind. Artists featured include: Caroline Achaintre, Ai Weiwei, Aaron Angell, Edmund de Waal, Theaster Gates, Marisa Merz, Ron Nagle, Gabriel Orozco, Grayson Perry, Sterling Ruby, Thomas Schütte, Richard Slee, Jesse Wine, and Betty Woodman. Nominators include: Pablo Leon de la Barra, Iwona Blazwick, Mary Ceruti, Dan Fox, Jens Hoffmann, Christine Macel, James Meyer, Jed Morse, Beatrix Ruf, Patrizia Sandretto Re Rebaudengo, Nancy Spector, Sheena Wagstaff, and Jonathan Watkins.
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Sculpture --- outdoor sculpture --- sculpting --- Paolozzi, Eduardo --- anno 1900-1999 --- Great Britain
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Iconography --- Sculpture --- outdoor sculpture --- sculpting --- fauna --- human figures [visual works] --- Frink, Elisabeth --- anno 1900-1999 --- Great Britain
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Wp Wp Wp is part artist book / part catalogue published on the occasion of Fiona Banner's exhibition at Yorkshire Sculpture Park, on display until 4th January 2015. The cover is reversible, so outward and inward facing images interchange - there are 1500 editions of one cover and 1500 of the other. The premise of the publication is that it is compiled from quotes from previous publications. And also reveals the process of putting a book together, so for instance the tracked changes on the interview are deliberately left in... the pages that are scanned are deliberately obvious as quotes from previous Fiona Banner publications.
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