img011.tif

img011.tif

lafilleblanc:

Gerhard Richter
Study for ‘4 Glass Panes’ (CR 160), 1966

lafilleblanc:

Gerhard Richter

Study for ‘4 Glass Panes’ (CR 160), 1966

(via yamamomomo)


Richard Judd"Flying Console"Pommele Sapele, Stainless Steel, Glass30” H x 56” L x 14” D

Richard Judd
"Flying Console"

Pommele Sapele, Stainless Steel, Glass
30” H x 56” L x 14” D

(via yamamomomo)

(Source: prismaluna, via fayeblue)

asylum-art:

"Head" Naum Gabo               

Russian-born American sculptor Naum Gabo (1890-1977) was a pioneer of the Russian Constructivist art movement. His work utilized what is known as “stereometric construction,” by which form is achieved through the description of space rather than mass. In explaining the method he once stated, “We take four planes and we construct with them the same volume as four tons of mass.  He felt his Head  sculpture created in 1916.

(via fayeblue)

(Source: ivanhlestakov, via fayeblue)

animecorecollection:

Star Era 12 by remocholy

animecorecollection:

Star Era 12 by remocholy

(Source: deviantart.com, via otakufans2014)

sculpture-center:

FEATURED ARTIST: Elliott Wright, Nagisa [re. enveloped], 2014. Anodized modular aluminum, inkjet, foamcore, vinyl, gasket. 43 X 14 X 9 inches. Courtesy the artist. Photo: Colin Loughlin.
http://sculpture-center.org/

sculpture-center:


FEATURED ARTIST: Elliott Wright, Nagisa [re. enveloped], 2014. Anodized modular aluminum, inkjet, foamcore, vinyl, gasket. 43 X 14 X 9 inches. Courtesy the artist. Photo: Colin Loughlin.

http://sculpture-center.org/

sculpture-center:

FEATURED ARTIST: Elliott Wright

Elliott Wright (b. 1984, lives and works in Brooklyn, NY) creates work that considers liquidity and the mutation that occurs through the process of scanning. Wright utilizes the scanner as a medium/substrate in which the subject, a hand-made object or collage composed of materials that complicate the scanning process, is scanned and compressed through a digital arena that is later expanded and re-materialized in the physical arena. What remains is a subject that is bruised and dissolved by this transmission. The resulting bodies that are affected by the scanners’ threshold are poised upon modular aluminum structures, a framing material mostly utilized to police space within industrial enclosures, clean rooms and corporate displays. The structures themselves take on a skewed-phantasmagoria, through the use of two-way mirrors and complex angled cuts where perspective approaches groundlessness. Wright’s engagement with the subject derives from personal histories, loss, sensory deprivation and a confusion with identification.
Wright completed his MFA from New York University in 2013, and has exhibited work at Non-Objectif Sud, Tulette, FR; Abrons Art Center, NY; Vamiali’s, Athens, GR; Preteen Gallery, Mexico City, MX; Racebrook Lodge, Berkshire, MA; and has contributed digital work to Artmicropatronage.org (curated by Karen Archey) and How to Download a Boyfriend (curated by Badlands Unlimited).  
Elliott Wright,  Nachträglichkeit II [re. coffee service, after Morandini], 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 68 X 26 X 24 inches. (Imposed on a scanned image from a 1978-1980 issue of Architectural Digest). Courtesy the artist. Photo: Colin Loughlin.
https://sculpture-center.org/

Check it!

sculpture-center:

FEATURED ARTIST: Elliott Wright

Elliott Wright (b. 1984, lives and works in Brooklyn, NY) creates work that considers liquidity and the mutation that occurs through the process of scanning. Wright utilizes the scanner as a medium/substrate in which the subject, a hand-made object or collage composed of materials that complicate the scanning process, is scanned and compressed through a digital arena that is later expanded and re-materialized in the physical arena. What remains is a subject that is bruised and dissolved by this transmission. The resulting bodies that are affected by the scanners’ threshold are poised upon modular aluminum structures, a framing material mostly utilized to police space within industrial enclosures, clean rooms and corporate displays. The structures themselves take on a skewed-phantasmagoria, through the use of two-way mirrors and complex angled cuts where perspective approaches groundlessness. Wright’s engagement with the subject derives from personal histories, loss, sensory deprivation and a confusion with identification.

Wright completed his MFA from New York University in 2013, and has exhibited work at Non-Objectif Sud, Tulette, FR; Abrons Art Center, NY; Vamiali’s, Athens, GR; Preteen Gallery, Mexico City, MX; Racebrook Lodge, Berkshire, MA; and has contributed digital work to Artmicropatronage.org (curated by Karen Archey) and How to Download a Boyfriend (curated by Badlands Unlimited).  

Elliott Wright,  Nachträglichkeit II [re. coffee service, after Morandini], 2014. Anodized modular aluminum, inkjet, foamcore, gasket. 68 X 26 X 24 inches. (Imposed on a scanned image from a 1978-1980 issue of Architectural Digest). Courtesy the artist. Photo: Colin Loughlin.

https://sculpture-center.org/

Check it!

(Source: alexislgrise)