#relief-sculpture

#relief-sculpture

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

Geddis' sculptures evoke an enigmatic tension between identity and glyph, teetering between abstraction and figuration like retrofuturistic icons, reflecting his diverse cultural influences.

From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.

One tenet of classical idealism is the idea that Roman and Greek statuary embodied an ideal of pure whiteness-a misconception modern sculptors perpetuated for hundreds of years by making busts and statues in polished white marble. But the truth is that both Greek statues and their Roman counterparts were originally brightly painted in riotous color.

The body becomes a site of transformation. Uniquely crafted pieces engage with the wearer, blurring the line between material, form, and presence. Each one-off creation and streetwear capsule emerges from a conscious, boundary-free creative process, drawing inspiration from visual arts, theatre, music, dance, and the surrounding world.

"Piano piano" is an old Italian saying that sounds nonsensical, but is actually full of wisdom, especially if you, like me, are finding yourself wishing away these frigid winter days and hoping spring and summer gets here fast. These days, I've found myself rushing from one thing to the next, frustrated at the smallest things, from post office lines to just missing my train. And I'm ready to make a change.

What makes this canopy special isn't just that it uses 3D printing technology, though that's certainly impressive. It's the way the designers thought about the entire system. Rather than simply throwing a roof over the tombs and calling it a day, they created what's essentially a climate-control system disguised as architecture. The canopy features a double-layer envelope that does way more than keep rain off ancient stone. Built into this roof are ventilation and air extraction components that actively regulate temperature and humidity.

The Neptune of Lyon, one of the largest and most important bronze statues from Roman Gaul, has arrived in Rome for a one-time guest starring appearance at the Giovanni Barracco Museum of Ancient Sculpture. The statue is in the permanent collection of the Lugdunum Musee et Theatres Romains in Lyon, and is being loaned to the sculpture museum as part of an extraordinary exchange of ancient works between the two cities.

The bodhisattva motif is a popular one in East Asian art and represents an enlightened being who has deferred their entrance into nirvana to instead guide others toward redemption and deliverance. The bodhisattva form is often identifiable through its opulent adornment and serene and contemplative posture, frequently shown with a hand touching their temple as a sign of meditation.

The studio is at my house within a ranch, surrounded by nature. It's on the second floor of the house, where there's better light. My routine all day shifts between studio work and housework, including outdoor garden work. I get up a bit before 7am, drink coffee in the yard, and get morning sunshine. Then my husband and I eat breakfast and do a bit of cleaning or some chores in the garden.

"We had just moved to Seattle, and I started drawing. Like every day I drew the commuters on the bus, I would draw the mountains, the buildings," remembered Campanario.

Structured from pictorial tradition, González remakes established canons from her perspective as a contemporary woman: the sacred passes through the filter of a contemporary aesthetic vision without ceasing to be mystery, transforming into something simultaneously recognizable and radically new. The exhibition invites us to rewrite the narrative from creation itself, a gesture born from respect toward that generative power that was denied and distorted for centuries.