Search results for [Generation of geometric forms.] at NC Cardinal

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Tilings and patterns / by Grunbaum, Branko,author.; Shephard, G. C.,(Geoffrey Colin),author.;

Includes bibliographical references (pages 663-704) and index.

Subjects: Tiling (Mathematics); Repetitive patterns (Decorative arts); Generation of geometric forms.;

Available copies: 1 / Total copies: 1

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Form / by Guasch, Gemma.; Asunción, Josep.;

Form in visual language -- Form and visual perception -- The limits and structure of form -- Typology and characteristics of form -- Form in the painting -- Form and personal expression -- Experimenting with form -- Form in living nature -- Creative approach 01: volumetric, organic, and curvilinear forms -- Composition with the fruits of autumn: analyzing their structure and volume -- Creative approach 02: linear, twisted, and sinuous forms -- Trunks, branches, and roots: discovering their expression and poetry -- Creative approach 03: animal, and living forms -- Galloping horses: how to develop their masses and lines of force -- Form in still life -- Creative approach 04: bright, transparent, and reflecting forms -- Transparencies, highlights, and reflections in glass objects: finding forms within other forms -- Creative approach 05: modulated, textile, and folded forms -- The knot: expression with wrinkles, folds and tension -- Creative approach 06: cubist, angular, and geometric forms -- A still life composition: deconstructing a scene to create new forms -- Creative approach 07: flat, architectural, and irregular forms -- The room: discovering the forms of interior spaces -- Form in the landscape -- Creative approach 08: atmospheric, weightless, and blurred forms -- The sky: experimenting with a spectacle of changing forms -- Creative approach 09: spatial, juxtaposed, and divided forms -- Panoramic mountain view: defining forms in a deep space -- Creative approach 10: liquid, aqueous, and flowing forms -- The sea, source of forms: creating based on its magic -- Form in the human figure -- Creative approach 11: synthetic, descriptive, and bordering forms -- The outline: suggesting anatomy using the poetry of the line -- Creative approach 12: corporeal, modeled, and contrasted forms -- The nude: revealing the form with chiaroscuro -- Creative approach 13: divided, inserted, and futurist forms -- The figure in movement: interpreting the forms that generate dynamism -- Forms in abstraction -- Creative approach 14: twisting, gestural, and organic abstract forms -- The universe in a nutshell: abstraction based on a specific form -- Creative approach 15: geometric, graphic, and planimetric abstract forms -- The city: generating abstract forms from geometric structures.

Subjects: Painting; Form (Aesthetics);

Available copies: 1 / Total copies: 1

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Mid-century modern furniture : shop drawings & techniques for making 29 projects / by Crow, Michael(Woodworker)(CARDINAL)621724;

Includes bibliographical references (pages 172-173)."In the middle of the last century, a new generation of designers sought to render furniture to its most essential forms. In doing so, they created timeless designs that defined Mid-Century Modern Style. From the sleek geometric lines of Bauhaus-inspired design to the sculptural shapes of Danish masters, this furniture captured the imagination of the era and enjoys growing popularity today. Now for the first time, author Michael Crow has carefully detailed 29 seminal works by the era's foremost designers, including Hans Wenger, Finn Juhl and George Nelson. At their best, these spare, often sculptural designs transcend their period and are at home in a variety of settings. Each piece has been selected carefully so it can be built in an average workshop."--Amazon.com.

Subjects: Furniture making.; Furniture; Furniture.;

Available copies: 1 / Total copies: 1

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Geometry in nature : exploring the morphology of the natural world through projective geometry / by Blackwood, John(John A.)(CARDINAL)426028;

Includes bibliography (pages 185-187) and index."From the simplest observations in nature to detailed measuring of intricate forms, we find geometry everywhere in the world around us. In this magnificent book, John Blackwood explores different kinds of symmetry in the diverse realms of nature. He considers the fundamental forms of minerals, plants, animals and humans, before going on to look at spirals, vortices, buds and other complex shapes. Using projective geometry as a basis, he shows how many forms in nature are generated by the same basic geometrical process, but significant disparities lead to the wondrous variety found in our universe. Fully illustrated with over 500 photographs, drawings and diagrams, this is both a beautiful and inspirational book." --Amazon

Subjects: Geometry in nature.; Symmetry (Biology); Geometry, Projective.;

Available copies: 1 / Total copies: 1

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Sean Scully : LA deep. by Scully, Sean,1945-artist.(CARDINAL)179443; Lisson Gallery (Los Angeles, Calif.),publisher,host institution.(CARDINAL)885576;

Sean Scully returns to Los Angeles almost 50 years after making his US debut there, unveiling a selection of new and older works at Lisson's recently-launched LA space. Celebrating the development of his practice over five decades, this era-spanning exhibition draws formal and conceptual resonances between Scully's earliest grid paintings, which were first shown in Santa Monica in 1975, all the way forward to equally innovative, large-scale works from 2023. Scully's so-called Supergrid series of works began while still a student in London and Newcastle in the UK during the 1960s, progressing towards a sophisticated language of overlapping, interwoven stripes painted between taped boundaries. Influenced by his tutor Ian Stephenson, whose dripped and dotted paintings featured in Michelangelo Antonioni's Swinging Sixties film Blow Up, Scully began working on his own complex, focus-pulling compositions that likewise refused to fully reveal themselves at first sight, allowing only glimpses into its structure and necessitating prolonged viewing times. In epic feats of labor and painterly engineering, Scully built up dozens of horizontal and vertical lines, only to intensify this grid with multiplying layers of crisscrossing diagonals, creating expansive panels that exceeded even his tall frame and bodily span.Perhaps the apotheosis of this period is Scully's monumental work, Blaze (1971), a dizzying matrix of neon pinks, sports-car reds and flame-licked yellows. Subtlety and variation in color treatment followed in the similarly dynamic and optically disorienting square field of Second Order ư (1974), while the space between surface and ground is further disrupted by Final Grey ư (1974), which still features the strips of tape clinging to the work and providing another porous and translucent framework. This knotty, woven texture reappears half a century later in the newest painting here, entitled Dark In (2023). The brushmarks have long ago loosened, widened and now incorporate many more than a single, bold color in each sweep, following more naturalistic and gestural shades and contours in comparison to the sleek, rectilinear lines of the 1970s. Here too the picture plane is broken up, though not by tape, but by an inserted aluminum panel of a newly rotated and concentrated lattice work. Among other newer paintings are two recent triptychs, including the centrally located Guadalupe (2022), which revisits the scale and ambition of Blaze, only now the eye is moved between chunky, rugged blocks of unfathomably deep moss-green and maroon hues, which sit on a buzzing, glowing, chessboard backdrop. In the intervening years between these disparate bodies of gridded paintings, Scully himself moved to the US fulltime in 1975, settling in New York after a long cross-country road trip. He has returned many times since to show in California, with his own written recollections and photographs of these formative visits included in an accompanying catalogue to this exhibition, also featuring texts by art critics Peter Frank and Donald Kuspit. -- Taken from Gallery's website :Sean Scully is one of the most important painters of his generation, whose work is held in major museum collections around the world. While known primarily for his large-scale abstract paintings, comprised of vertical and horizontal bands, tessellating blocks and geometrical forms comprised of gradated and shifting colours, Scully also works in a variety of diverse media, including printmaking, sculpture, watercolour and pastel. Having developed a style over the past five decades that is uniquely his own, Scully has cemented his place in the history of painting. His work synthesises a thoroughly international collection of influences and personal perspectives - ranging from the legacy of American abstraction, with inspiration from the likes of Mark Rothko and Jackson Pollock, and that of European tradition, with nods to Henri Matisse and Piet Mondrian, as well as references to classical Greek architecture. While monumental in scale and gesture, Scully's work retains an undeniable delicacy and sincerity of emotion. Sean Scully was born in Dublin in 1945 and raised in South London. Wanting to be an artist from an early age, Scully attended evening classes at the Central School of Art in London from 1962 to 1965, and enrolled full time at Croydon College of Art, London from 1965 until 1968. He received his Bachelor of Arts from Newcastle University in 1972. He was awarded the Frank Knox Fellowship to Harvard University in 1972, where he visited the United States for the first time. In 1975, he moved to New York full-time. Today, he lives and works between New York and Bavaria. With a career that spans more than five decades, he has received numerous accolades and has been the subject of multiple touring exhibitions. In 2014, he became the first Western artist to have a career-length retrospective in China. Follow the Heart: The Art of Sean Scully 1964 - 2014 included over 100 paintings and travelled from Shanghai to Beijing. Scully was named a member of the Royal Academy of Arts in London in 2013 and has received honorary degrees from institutions such as the Massachusetts College of Art, Boston; the National University of Ireland, Dublin; Universitas Miguel Hernandez, Valencia; Burren College of Art, National University of Ireland; Newcastle University, UK, among others. A series of essays and conversations between Scully and the esteemed art critic Arthur Danto was published by Hatje Cantz in 2014, and a collection of Scully's own writing, selected speeches and interviews, Inner, was released in 2016. -- Full biography available at:

Subjects: Exhibition catalogs.; Scully, Sean, 1945-; Art, Abstract; Art, Abstract; Art, Modern; Art, Modern; Painting, Abstract; Painting, Abstract; Painting, Modern; Painting, Modern;

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Liz Larner : don't put it back like it was / by Larner, Liz,1960-artist,interviewee.(CARDINAL)227512; Butler, Cornelia H.,author.(CARDINAL)217397; Carver, Cathy,photographer.(CARDINAL)874169; Ceruti, Mary,curator,interviewer.(CARDINAL)873278; Dancewicz, Kyle,curator.(CARDINAL)874011; Liu, Catherine,author.(CARDINAL)685893; Reines, Ariana,author.(CARDINAL)787002; Dancing Foxes Press,publisher.; Distributed Art Publishers,distributor.(CARDINAL)784868; Sculpture Center (New York, N.Y.).Gallery,host institution.(CARDINAL)875050; Walker Art Center,host institution.(CARDINAL)150439;

Includes bibliographical references (pages 96-97)."For the past three decades, Los Angeles-based artist Liz Larner (US, b. 1960) has explored the material and social possibilities of sculpture in innovative and surprising ways. Today she is one of the most influential artists of her generation engaged with the medium. Larner's use of materials ranges from the traditional--such as bronze, porcelain, glass, or stainless steel--to the unexpected: bacterial cultures, surgical gauze, sand, or leather. The artist selects each medium for its physical or chemical properties as well as for social and historical associations. Taking direction from these materials, she creates works that can be delicate or aggressive, meticulously crafted or unruly and formless. Liz Larner: Don't put it back like it was, co-organized by the Walker and SculptureCenter, New York, is the artist's largest survey since 2001. Presenting some 30 works produced between 1987 and 2020, the exhibition includes many pieces never before shown. Featured works include Larner's early experiments with petri dishes and destructive machines, installations that respond to architecture, and more recent wall-based works in ceramic. As a whole, the exhibition underscores the power and intention of Larner's work to reconsider objects in physical space as not only a matter of architectural proportions but also as a social, gendered, and psychological construction. As her objects assert themselves in the gallery environment, they reflect a history of sculptural practice and an understanding of physical space that has largely been shaped by (or credited to) men. The experience of viewing these works compels an awareness of our own embodied presence and relationship to this space. The exhibition examines ways in which Larner has investigated both the material potential of sculpture and its relationship to the viewer, bringing forward key themes that have occupied her work: the dynamic between power and instability, the tension between surface and form, and the interconnectedness of objects to our bodies." - Walker Art Center"Liz Larner was born in Sacramento, California in 1960. She experiments with abstract sculptural forms in a dizzying array of materials, including polychromatic ceramics that evoke the tectonic geologic shifts of the western landscape. An inventor of new forms, Larner's sculptures are not easy to categorize. They defy easy description by design, such as the geometric sculpture of a cube turning into a sphere that is both yet neither, or a complex chain of linked metal rings that never tangles and can also be worn as jewelry." Full biography found at:

Subjects: Exhibition catalogs.; Interviews.; Larner, Liz, 1960-; Larner, Liz, 1960-; Larner, Liz, 1960-; Sculpture, Abstract; Sculpture, Abstract; Sculpture, American; Sculpture, American; Sculpture, Modern; Sculpture, Modern; Women sculptors; Women sculptors;

Available copies: 1 / Total copies: 1

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