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Article

American, 20th century, male.

Born 6 December 1939, in Chicago.

Painter (mixed media), sculptor, designer (furniture).

Finish Fetish, Light and Space.

Larry Bell grew up in San Fernando Valley. In 1957 he joined the Chouinard Art Institute in Los Angeles with the intention of becoming a draughtsman at Disney. However, inspired by the teaching of Robert Irwin and his peers, he resolved to become a painter and left the school before graduating in ...

Article

American, 20th – 21st century, male.

Born 6 November 1932, in Emporia (Kansas).

Assemblage artist, painter, furniture designer.

Wendell Castle studied at the University of Kansas, receiving a BFA in sculpture in 1958 and an MFA in industrial design in 1961. He has taught at the University of Kansas (...

Article

American, 20th – 21st century, male.

Born 1969.

Sculptor of assemblages.

Vincent Fecteau's sculptures have similarities with baroque furniture. He has been exhibiting regularly in the USA since the early 1990s, particularly at Feature Inc. in New York. He has participated in various collective exhibitions, including: ...

Article

American, 20th century, male.

Born 1930, in Bellingham (Washington State).

Engraver, lithographer, installation artist, sculptor.

Conceptual Art.

David Ireland studied industrial design and printmaking at the Californian College of Arts and Crafts, graduating in 1953. He worked as an architectural draughtsman, a carpenter and an African safari guide before returning to art education in the 1970s. In ...

Article

American, 20th – 21st century, male.

Born 1955, in Kenosha (Wisconsin).

Installation artist. Furniture.

Jim Isermann lives and works in Palm Springs, California. In his furniture pieces and wall coverings he attempts to broach the middle ground between high art and design. In 1950s America, industrial designers sought to imbue utilitarian objects with utopian ideals borrowed from the visual arts. In turn, artists with Pop, Op Art or Minimalist agendas looked to domestic products for inspiration, recognising their role as mass-produced icons of a new found capitalist optimism. This dialogue between ornamentation, materiality and iconography provides the basis for Isermann's work. In ...