Robert Therrien

NO TITLE (Chapel)

1984

Untitled Sculpture by Sterling Allen, 2020 Additional information: Dimensions: 8.25 × 10.5 × 8 in (21 × 26.7 × 20.3 cm) About Artist: Sterling Allen holds a BFA from the University...

Untitled, Glazed Stoneware, 2022 Additional information: Medium: Glazed stoneware Condition: Excellent Dimensions: 33 1/2 x 15 x 18 in About artist: David Klamen (American, b.1961)...

Untitled Sculpture by Sterling Allen, 2020 Additional information: Dimensions: 14.25 × 9.5 × 4.75 in (36.2 × 24.1 × 12.1 cm) About Artist: Sterling Allen holds a BFA from the Unive...

Untitled Sculpture by Sterling Allen, 2020 Additional information: Dimensions: 10.5 × 9.5 × 6 in (26.7 × 24.1 × 15.2 cm) About Artist: Sterling Allen holds a BFA from the Universit...

"Offshoot" is a horizontal pedestal sculpture by renowned Australian artist Clement Meadmore. It is an elegantly simple form with a beautiful dark brown patina. "Offshoot" balances o...

Anthony Pearson has been the subject of solo exhibitions at Contemporary Art Museum, St. Louis (2012) and Midway Contemporary Art, Minneapolis (2008). He has participated in group ex...

Excerpts from William Peterson, Tom Waldron, 1985 They cut through space like beautiful and efficient tools. No bases or pedestals are required. They sit ...

A sculpture by Theaster Gates. "Stand-Ins for Period of Wreckage 25" is a contemporary sculpture, white concrete and porcelain by American, Blue Chip artist Theaster Gates. The artwork is unsigned. Theaster Gates' practice includes sculpture, installation, performance and urban interventions that aim to bridge the gap between art and life. Gates works as an artist, curator, urbanist and facilitator and his projects attempt to instigate the creation of cultural communities by acting as catalysts for social engagement that leads to political and spatial change. Gates has described his working method as “critique through collaboration” – often with architects, researchers and performers – to create works that stretch the idea of what we usually understand visual-based practices to be. For his exhibition at Milwaukee Art Museum exhibition in 2010, for example, Gates invited a 250 strong gospel choir into the galleries to sing songs adapted from the inscriptions on pots by the famous 19th century slave and potter 'Dave Drake'. For the 2010 Whitney Biennial, Gates transformed the Whitney’s Sculpture Court with a spare, architectural installation that functioned as a communal gathering space for performances, social engagement, and contemplation. For the duration of the exhibition Gates collaborated with various creative practitioners on a series of 'monastic residencies', holding live events such as the session by Gates' musical ensemble, the Black Monks of Mississippi. In another recent exhibition at Seattle Art Museum, Gates transformed the gallery into an audio archive entitled 'The Listening Room', incorporating a hand-built DJ...