Payant comments on paradox as manifested in for example the apparent lightness of Démidoff-Séguin's sculptures made of cast ciment. The recent work of the artist participates in issues of postmodern sculpture with the critical distance towards representation this implies. The 1985 sculptures presented at the exhibition are reproduced along with some earlier works. Biographical notes
L’auteure propose de poser les assises théoriques de l’esthétique de la proximité, approche qui conç...
Irène Codréano (1896-1985), Marguerite Cossaceanu-Lavrillier (1893-1980), Daria Gamsaragan (1902-198...
Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfon...
Payant comments on paradox as manifested in for example the apparent lightness of Démidoff-Séguin's ...
While Démidoff-Séguin briefly demonstrates how her research in drawing is in continuity with her wor...
On the occasion of an exhibition combining Poulin's sculptures and drawings (1978-1993), Nemiroff ex...
Ce premier ouvrage de Rachel Wells offre une contribution tout aussi inattendue que remarquable à la...
Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’om...
Les sculptures changent-elles le monde? Nous examinerons ici les Environnants, avant-garde scu...
La revue Sculptures consacre son numéro thématique 2023 aux sculptrices (XIXe-XXIe siècles). En évit...
Johnstone discusses Saulnier's recent sculptures in terms of representation, bricolage, quotation an...
How is a sculpture born? A sculpture is not the work of a single hand. Besides the artist, many are ...
Detail, showing the top; From 1966 Miró worked intensely on sculptures based principally on small ob...
Gascon discusses the relationship existing between sculpture and its architectural shelter, and more...
Invited submission for the exhibition and subsequent publication. Exhibition of the work of scul...
L’auteure propose de poser les assises théoriques de l’esthétique de la proximité, approche qui conç...
Irène Codréano (1896-1985), Marguerite Cossaceanu-Lavrillier (1893-1980), Daria Gamsaragan (1902-198...
Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfon...
Payant comments on paradox as manifested in for example the apparent lightness of Démidoff-Séguin's ...
While Démidoff-Séguin briefly demonstrates how her research in drawing is in continuity with her wor...
On the occasion of an exhibition combining Poulin's sculptures and drawings (1978-1993), Nemiroff ex...
Ce premier ouvrage de Rachel Wells offre une contribution tout aussi inattendue que remarquable à la...
Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’om...
Les sculptures changent-elles le monde? Nous examinerons ici les Environnants, avant-garde scu...
La revue Sculptures consacre son numéro thématique 2023 aux sculptrices (XIXe-XXIe siècles). En évit...
Johnstone discusses Saulnier's recent sculptures in terms of representation, bricolage, quotation an...
How is a sculpture born? A sculpture is not the work of a single hand. Besides the artist, many are ...
Detail, showing the top; From 1966 Miró worked intensely on sculptures based principally on small ob...
Gascon discusses the relationship existing between sculpture and its architectural shelter, and more...
Invited submission for the exhibition and subsequent publication. Exhibition of the work of scul...
L’auteure propose de poser les assises théoriques de l’esthétique de la proximité, approche qui conç...
Irène Codréano (1896-1985), Marguerite Cossaceanu-Lavrillier (1893-1980), Daria Gamsaragan (1902-198...
Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfon...