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Showing posts with label Wood. Show all posts
Showing posts with label Wood. Show all posts

Friday, January 6, 2017

Martin Puryear, American, b. 1941














LADDER FOR BOOKER T. WASHINGTON
1996
Wood (ash and maple)
432 x 22 3/4 (narrowing to 1 1/4 at top) x 3 inches

What excited me about [the piece] was that the length of it was such that you wouldn’t really be able to tell whether you were looking at something that had been manipulated or whether it was in fact truly receding into space through sheer length. — Martin Puryear
A master woodworker who studied carpentry, Martin Puryear makes expressive sculpture that often reveals a humble focus on human touch and the craft tradition of woodwork. The artist has created a number of works that relate to African American history, including Ladder for Booker T. Washington.
Washington, one of the most powerful and controversial African Americans at the turn of the century, advocated self-advancement through discipline and hard work. However, he rejected the pursuit of politics and social equality for black Americans in favor of developing vocational and domestic skills. Although he was well-respected within the African American community at large, Washington’s viewpoints were adamantly opposed by some African American intellectuals, who believed that without being politically active, significant equal rights and economic gains were unattainable. The ladder has multiple associations, and Puryear’s homage to Booker T. Washington might include several of these—ambition, hierarchy, or the impossibility of reaching the top.






Sunday, April 24, 2016

Monica Stauffer, Student Work




Copious | To be copious is to have excess amounts of something, overflowing. Spilling out, seeping from a container, touching and affecting other things.

Loren Myhre, Artist

Saturday, May 17, 2014

Michael Stingle, Student Work



The Blind Man, Wood, 20″x18″x12″, 2014





Stone Head, Stone, 18″x4″x3″, 2014

Friday, May 16, 2014

Alex Chitty, Artist, b. 1979, Miami, USA










Slow Death of a Namesake (Unit 2, Part I)

2014
45" h x 53 3/4" w x 10 3/4"d
powder coated steel, 2-way mirror, birch plywood, steel, brass, stone, ceramic cup, laminate, Lucite, laser print, aluminized print, walnut, etched glass, leather, Styrofoam cups with ink drawing

Thursday, May 15, 2014

Heechan Kim, Artist


Wood, Metal , 91x125x96cm, 2012



Wood, Metal , 91x76x101cm, 2010



Wood, Metal , 76x58x50cm, 2010


Artist Statement:
My work emphasizes the relationships between shapes and the lines those shapes make. Using wood as my primary material, I intend to explore the character of wood and visual language of the resulting work. I have always been fascinated by wood as a material. It is amazing how people control the material against its own will to create something very different from the way it is supposed to look in nature. I am interested in how wood reacts to control and physical force and how it accordingly reveals its characteristics. Therefore, the construction process is very important in my work as a physical structure and also as a visual element. Various reactions of wood embody my interest in human nature. Through my work, I plan to examine how human beings interact with each other and how those interactions create emotional tension.
source link here

Sunday, April 28, 2013

Gabriele Meldaikyte, Artist

Flick

Pinch

Tap

Scroll

Swipe



"You probably don’t pay much attention to the gestures you make on your touchscreen handset. The constant swiping through articles or news feeds, pinching to zoom closer, flicking through virtual pages in iBooks, and all the other hand movements we do on a daily basis to interact with our phones.
Royal College of Art student Gabriele Meldaikyte has taken a bit more notice of them than most and transformed these simple, yet integral, movements into a series of sculptures in Multi-Touch Gestures. Meldaikyte notes that there are five actions which makeup the way we engage with our phones using our fingers. These are flick, pinch, tap, swipe, and scroll, what she calls “‘signatures’ of the Apple iPhone” (and, presumably, Android phones and other touchscreen devices).
But these interactions will inevitable change, just like the way most of us don’t type onto a tactile keyboard anymore on our cell phones. User interaction is a constantly evolving and changing field, adapting to user demands as well as technological advances.
Meldaikyte says her sculptures are an act of preservation, capturing these interactions so people can look back and see how it used to be. “I have translated this interface language of communication into 3D objects”, she says on her website, “which mimic every multi-touch gesture. My project is an interactive experience, where visitors can play, learn and be part of the exhibition.”
The sculptures consist of simple mechanics like pulleys and leavers and are made from acrylic and wood, contrasting with the precious metals and circuit boards of an iPhone. Newspaper clippings, book pages, and paper maps replace their virtual equivalents. So you flick a cog to turn the pages of a mini newspaper, pinching involves moving a magnifying glass up and down, tapping becomes a spring-mounted acrylic keyboard, swiping lets you navigate over a real map, while scrolling becomes a pulley system which lets you read through an article." -source link here.

Andrew Fishman, Artist



"Turning the crank on the side releases one penny every 4.97 seconds, for a total of $7.25 per hour. This corresponds to minimum wage for a person in New York.
This piece is brilliant on multiple levels, particularly as social commentary.  Without a doubt, most people who started operating the machine for fun would quickly grow disheartened and stop when realizing just how little they’re earning by turning this mindless crank. A person would then conceivably realize that this is what nearly two million people in the United States do every day…at much harder jobs than turning a crank. This turns the piece into a simple, yet effective argument for raising the minimum wage.
- See more at: http://disinfo.com/2012/12/the-mininum-wage-machine/#sthash.0JM2WdG0.dpuf"

Source link here.

Moataz Nasr, Artist



Read about it.  Link here.

Friday, February 8, 2013

Sunday, December 16, 2012

Steve Roden, Artist





The number of objects (sculptures) that make up the work is 490 - the same number of land formations on the list - all that were known to exist around 1910. Each object's height is determined by the number of vowels in its name. the vowels in each name also determine the materials that were added to the wooden structure (the wood is the consonant). a= wax, e= wire, i = tin foil, o= gesso, and u= pencil. Thus land formation #33 "Berzelius" would be four inches tall and would be made of wire, tin, and pencil along with the wood. Once these parameters were determined, the sculpture/object was made intuitively, drawing on a number of different sources of inspiration. The total work is approximately 70 feet long. source link here.

Saturday, December 15, 2012

Charles Ledray, Artist



Milk and Honey
Source is The Whitney.  Link here.

Franz Erhard Walther, Artist


Leg Piece

Franz Erhard Walther (German, born 1939)

1964. Fabric, 53 1/8 x 14 9/16" (135 x 37 cm). Scott Burton Fund. © 2012 Franz Erhard Walther / Artists Rights Society (ARS), New York / VG Bild-Kunst, Germany

Source is Museum of Modern Art

Friday, June 1, 2012

Michael Somoroff, Artist


Tefillah I, 2012, Paper print, wood, plaster, Paper print: 137 x 185 cm, Sculpture: 66 x 46 x 46 cm

Galerie Thomas Schulte presents in its Window Space an installation by the American Michael Somoroff, titled "Tefillah I", the Hebrew word for prayer. After producing works for the Rothko Chapel in Houston and for the Kunst-Station Sankt Peter in Cologne, Somoroff in his first appearance in Berlin once again addresses a spiritual subject.
www.galeriethomasschulte.de

source link is artnews.org.  link here.

Wednesday, May 23, 2012

Kelsey Schirard, Student Work







Tools that make a sound.  
Inspired by sounds made by insects.  
Glass
Wire
Wood
Paper
String
Paint

Wednesday, May 16, 2012

Tim Hawkinson, b. 1960, American





Hawkinson is renowned for creating complex sculptural systems through surprisingly simple means. His installation, "Überorgan"—a stadium-size, fully automated bagpipe—was pieced together from bits of electrical hardware and several miles of inflated plastic sheeting.



















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