Guillermo Garcia Cruz

Installation 3 blocks tower

2018

Bifurcated Structure, 2018 Variegated leaf on wood 27h x 19w x 2d in Cecilia Biagini was born in Buenos Aires, Argentina in 1967. She studied painting with Guillermo Kuitca in Buen...

Place Reference, 2022 Acrylic on Wood 24 x 24 x 4 in Cecilia Biagini was born in Buenos Aires, Argentina in 1967. She studied painting with Guillermo Kuitca in Buenos Aires and atte...

Retro - Active, 2016 Acrylic on Canvas 49h x 67w in stretched Cecilia Biagini was born in Buenos Aires, Argentina in 1967. She studied painting with Guillermo Kuitca in Buenos Aires...

Accounting Space, 2012 Acrylic on Canvas 65h x 42w in Unstretched Cecilia Biagini was born in Buenos Aires, Argentina in 1967. She studied painting with Guillermo Kuitca in Buenos ...

"00:03" Resin Sculpture 73" x 71" x 27.5" inch Edition 2/8 by Huang Yulong ABOUT THE ARTIST Huang Yulong was born in 1983 in Anhui Province, China. In 2007 he graduated with a Bache...

Brian Russell Jobe (American, b. 1981) is an artist and non-profit director based in Knoxville, Tennessee. Jobe's studio practice is focused on sculptur...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

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...