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"Pierre" pose un regard nouveau et fascinant sur le matériau de construction le plus ancien du monde. A travers plus de 170 structures, de la préhistoire à nos jours, cet ouvrage présente une incroyable variété de bâtiments : les monuments impressionnants du Néolithique et les spectaculaires pyramides de Gizeh côtoient les réalisations emblématiques du XXe siècle, du pavillon de Barcelone de Mies van der Rohe à l'audacieux Met de Marcel Breuer à New York. [Extrait jaquette]
Constructions en pierre --- Pierre --- Stone --- Stone buildings --- Matériaux. --- Architecture
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Iconography --- Art --- installations [visual works] --- human figures [visual works] --- Bataille, Georges --- Cummins, Pauline --- Florschuetz, Thomas --- Goethe, von, Johann Wolfgang --- Parker, Jayne --- Villiger, Hannah --- Walsh, Louise --- Wiltshire, Hermione --- Chadwick, Helen --- Sterbak, Jana --- anno 1900-1999
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Bourdelle, Antoine --- schetsboeken --- teksten --- brieven --- archiefstukken --- Bourdelle, Emile-Antoine --- Rodin, Auguste --- Bourdelle, Emile Antoine, --- Bourdelle, Antoine, --- Bourdelle, Antoine Emile, --- Burdelʹ, Ėmilʹ Antuan, --- tekst --- tekst. --- brieven. --- archiefstukken. --- Bourdelle, Antoine. --- Rodin, Auguste. --- Bourdelle, antoine (1861-1929) --- Archives --- Biographies --- Sources
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Art --- Sculpture --- art [discipline] --- sculpting --- Hepworth, Barbara --- Great Britain
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Now a major figure on the international art scene, sculptor and painter Thomas Houseago was born in Leeds (UK) in 1972. He has lived and worked in Los Angeles since 2003 and his work is represented in numerous museum and private collections. Through his use of materials including wood, plaster, iron and bronze, he is part of a sculptural tradition – Henry Moore, Georg Baselitz, Bruce Nauman – focusing on the human figure in space. For the artist, the monumental spaces housing the exhibition are an integral part of Almost Human. The building itself, the Alfred Auguste Janniot bas-reliefs of 1937, and the Eiffel Tower contribute to the exhibition, anchoring the works in this architectural setting. Often large in scale and displaying the traces of their making, Houseago's sculptures fluctuate between forcefulness and fragility. Almost Human follows the ongoing evolution of Houseago's work from the 1990s to the present. In addition, the exhibition will include Striding Figure II (Ghost), a monumental work in bronze installed on the museum’s esplanade. For the most part chronological, the presentation is arranged into four rooms that represent both the artist's major geographical phases and his intimate relationship with his materials. The exhibition begins with the dynamic, anthropomorphic sculptures that compose Houseago’s early output and reflect the teeming atmosphere of his studios of that time. His use of raw plaster, at times tinted, heightens the impression of works in search of equilibrium. The second room centers on hybrid and experimental pieces that bridge the gap between the early figuration and the immersive, architectural sculpture included in his current work. The third room is home to monumental and darker visions. L’homme pressé, a towering bronze colossus stands in opposition to the horizontality of Wood Skeleton I (Father), a carving of lying figure, while the massive Black Paintings series, rife with the sense of isolation and brooding introspection, line the walls in a frieze. The fourth room is devoted to the immersive sculpture, Cast Studio (stage – chairs –bed – mound – cave – bath – grave), made especially for the exhibition. Accompanied by a film and photographs that document its making, this work, cast from clay, acts as a transcript of the artist’s movements and actions, marking Houseago's return to the performative dimension present in his early work. Curator : Olivia Gaultier-Jeanroy
Sculpture --- Houseago, Thomas --- Art --- sculpture [visual works] --- painting [image-making] --- heads [representations] --- human figures [visual works] --- 73.07 --- Beeldhouwkunst ; 1ste helft 21e eeuw ; Th. Houseago --- Houseago, Thomas °1972 (°Leeds, Groot-Brittannië) --- Tentoonstellingscatalogi ; Parijs ; Musée d'Art moderne de la Ville de Paris --- Beeldhouwkunst ; beeldhouwers A - Z --- Exhibitions
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Depuis une dizaine d'années, la technique du moulage a trouvé une nouvelle actualité. Elle appartient depuis longtemps déjà au monde industriel, mais elle s'est développée à la faveur de procédés numériques d'enregistrement et de duplication des modèles. Des moulages de toutes sortes prolifèrent dans nos vies quotidiennes et cette présence familière trouve son écho dans les productions des artistes. Ils incarnent à bien des égards une qualité essentielle de la sculpture : le fait qu’elle soit plus souvent sérielle qu’unique. Le moulage est le moyen par lequel cette pluralité advient. Le commissariat est assuré par Penelope Curtis (directrice du Calouste Gulbenkian Museum), Rita Fabiana (curatrice au Calouste Gulbenkian Museum), Thierry Leviez (responsable des expositions aux Beaux-Arts de Paris) et Armelle Pradalier (responsable des publics aux Beaux-Arts de Paris). Michael Dean, Jumana Manna, Charlotte Moth, Jean-Luc Moulène ou Francisco Tropa sont quelques-uns des artistes inspirés des effets de réplication, de variation, de transformation ou de changement d'échelle propres au moulage. Leurs œuvres ont été réunies autour des collections historiques de moulages constituées au 19e siècle par les Beaux-Arts de Paris et la Faculdade de Belas Artes de Lisbonne. Les deux groupes se mêlent dans un jeu de répétitions infinies qui voit passer les modèles classiques des figures antiques aux sculptures contemporaines. Sculptures Infinies est le fruit d'une collaboration entre les BeauxArts de Paris et le Calouste Gulbenkian Museum de Lisbonne, en partenariat avec la gypsothèque du Louvre à Versailles, les ateliers d'Art, Moulage & Chalcographie de la Réunion des musées nationaux - Grand Palais et la Faculdade de Belas Artes à Lisbonne. ----------------------------- Over the past decade there has been a renewed interest in the practice of casting, which once again brings together the artistic and industrial worlds. Casting in plaster has never gone away, but the repertoire has now been enlarged. Casts of all kinds proliferate in our daily lives, and artists avail themselves of newly available digital techniques and artificial materials. Casts embody the special but unseen quality of almost all sculpture: that it is more often serial than unique. Sculpture is inherently plural and casting makes it so. The artists in this show have been chosen because they are fascinated by casting, and what it allows them to do. For some it is a way of capturing transient life stages; for others a way of immortalising historical events. While some use plaster for its historical associations, others use 3D scans to speak of cloning, surrogacy, and virtual multiplication. Casting has always been linked to documentation, and still today it gives form to what might not otherwise be known. Artists explore the moulds as much as the images, looking quite literally inside the sculpture itself. Contemporary works have been placed alongside the historic cast collections of the Fine Art schools of Paris and Lisbon to highlight these continuities. Generations of students have grown up alongside these collections, as interesting for their disordered repetitions as for their original teaching purpose. This exhibition goes beyond iconography to look instead at the infinite possibilities of a technique that has become part of our lives. Infinite Sculpture is the result of a collaboration between the Beaux-Arts de Paris and the Calouste Gulbenkian Museum. It draws on the historic collections of the Louvre, the Réunion des musées nationaux and Faculdade de Belas Artes in Lisbon. The contemporary works are all on loan.
Sculpture --- sculpture [visual works] --- casting [process] --- molding [forming] --- 3-D printing --- Zobernig, Heimo --- Moulène, Jean-Luc --- Gröting, Asta --- Claydon, Steven --- Dean, Michael --- Fujiwara, Simon --- Laric, Oliver --- Manna, Jumana --- Tropa, Francisco --- Wright, Daphne --- Moth, Charlotte --- Domanović, Aleksandra --- Guarch Bestué, David --- Verboom, Marion --- Veilhan, Xavier --- Borland, Christine
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Art --- History --- letters [correspondence] --- Franse school --- Fondation Custodia [Paris]
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