Posts Tagged ‘sculpture

01
Mar
12

eva rothschild :: geometric sculptures











Through her elegant sculptural compositions, Eva Rothschild explores the apprehensive relationship between objective form and new-age spiritualism. Rothschild approaches art as tantamount to a numinous belief system, where functionless objects become receptacles for immaterial sentiment, both inciting and emitting their own metaphysical auras. Inspired by 60s and 70s minimalism, Rothschild’s sleek designs evoke sustained contemplation and emotive tension. (edit from High Times, Saatchi gallery)






11
Sep
11

brancolina :: monologues from La Défense in Paris




















photography: ©brancolina2011


Fragments of the sculptures Le pouce by César Baldaccini and Igor Mitoraj’s La collose, Ikara and Tindaro.

08
Apr
11

Mike Tonkin and Anna Liu :: The Singing Ringing Tree




Click on image to watch the video


The Singing Ringing Tree is a wind powered sound sculpture resembling a tree set in the landscape of the Pennine mountain range overlooking Burnley, in Lancashire. Completed in 2006, it is part of the series of four sculptures within the Panopticons arts and regeneration project created by the East Lancashire Environmental Arts Network (ELEAN). The project was set up to erect a series of 21st-century landmarks, or Panopticons (structures providing a comprehensive view), across East Lancashire as symbols of the renaissance of the area.

Designed by architects Mike Tonkin and Anna Liu of Tonkin Liu, the Singing Ringing Tree is a 3 metre tall construction comprising pipes of galvanised steel which harness the energy of the wind to produce a slightly discordant and penetrating choral sound covering a range of several octaves. Some of the pipes are primarily structural and aesthetic elements, while others have been cut across their width enabling the sound. The harmonic and singing qualities of the tree were produced by tuning the pipes according to their length by adding holes to the underside of each.

In 2007, the sculpture won (along with 13 other candidates) the National Award of the Royal Institute of British Architects (RIBA) for architectural excellence. (edit from Wikipedia)

20
Mar
11

John Maeda :: lenore tawney studio : loeb modular system






17
Jan
11

brancolina :: exposed

©brancolina, all rights reserved

11
Dec
10

roni horn :: visions captured in text sculptures

Key and cue No. 895: A CLOUD WITHDREW FROM THE SKY (1994)

Key and cue, No. 1484: WE SHALL FIND THE CUBE OF THE RAINBOW (1994)

White Dickinson: TO COWER BEFORE A FLOWER IS PERHAPS UNWISE (2006)

Key and cue No. 1270: IS HEAVEN A PHYSICIAN? (2005)

Thicket No.1: TO SEE A LANDSCAPE AS IT IS WHEN I’M NOT THERE (1989-90)

Roni Horn’s embedded-text sculptures are made with the words cast in plastic in rectangular aluminum bars, the square cross-sections of which would measure two inches per side. Despite their tidy and direct presentation and the simplicity of their conceit, these are enigmatic works that speak to the difficulty of marrying sculptural and literary experience. Physical orientation becomes a key factor. Horn leans the works against the wall, positioning them not as lines of text but as pure objects, like planks that have no proper top or bottom, front or back. To make out the texts, viewers must navigate around the works; the act of reading, then, becomes physical, as the three-dimensional phrases, depending on which of their sides the viewer faces, appear variously right-side up or upside down, backward or forward, or reduced to stripes. Were they on pages, one would just read them, but here the rules of art viewing intervene, she melds language into physical form that may be both seen and read, from one angle as abstract pattern and from another as a provocative phrase. Yet what seems distancing or obfuscatory also results in aggressive engagement with the words. Minimalism’s reductive geometry, historically employed to isolate the specificity of the object, here yields the specificity of the text.” (edit from Christopher Miles’ article “Roni Horn in Gagosian gallery”, ArtForum)

RONI HORN: biography and exhibitions info (edit from Xavier Hufkens gallery, Brussels)

15
Nov
10

Kilian Rüthemann :: architectural interventions/sculptures

‘Architectural spaces and the appearance of building materials are the two poles between which Kilian Rüthemann develops his sculptural interventions. His point of departure is usually a concrete place whose tectonic shell provides him with the occasion to reshape it. Rüthemann works with simple substances, such as plaster, sugar or bitumen, often changing their aggregate state in the course of the creative process. Plaster is mixed with water, sugar melted with heat and then broken up when it has cooled. This gives rise to works that testify to their own mutability and transience, that occasionally embed themselves in the existing architecture, but sometimes also thwart it. By handling these simple materials in different ways, Rüthemann repeatedly tests their formal and sculptural potential. He avails himself of their variableness to reorganise space and surprise the visitors with new formations.’ Stefanie Böttcher

ruethemann.net



25
Oct
10

Wieden+Kennedy Amsterdam and Theo Watson :: Augmented Sand Sculpture


Introduction of the new Dutch Filmmuseum’s building. Wieden + Kennedy Amsterdam teamed up with acclaimed video artist Theo Watson and created a unique interactive sand sculpture replica of the new building, due to open in 2011.

Sculpture : The Sandfactory
Art director : Thijs Biersteker
Copy writer: Karian Weijers
Sound design : Theo Watson theowatson.com
Wieden+Kennedy wk.com

10
Oct
10

thea djordjadze :: geometric sculptures

Thea Djordjadze creates sculptures, installations, paintings and drawings. She puts together a world of light shapes: her sculptures look as if a few items of furniture and architecture models dating from the 1960s had taken on an independent existence and mugged a Calder mobile. Lumps of clay on the border between being something in the process of being shaped and something that is still shapeless are stuck, in delicately balanced rhythms, between the foam objects that teeter on the most filigree of modernist legs. This art, which always looks cobbled together, provisional and like a model for something is part of a new type of aesthetics, it is an aesthetic rendition of the hope that art remains living and does not deteriorate into the type of decorative geegaw to be found at our markets. (Niklas Maak, Frankfurter Allgemeine Zeitung)














Website: goslab.de




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brancolina@yahoo.com

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