Taylor Robenalt

Brown Hair Bunny

2022

Artist Statement: I seek to create environments of eccentric juxtapositions that illuminate the vulnerability and impermanence of habitat, time and memory. My sculptures are a rever...

Artist Statement: I seek to create environments of eccentric juxtapositions that illuminate the vulnerability and impermanence of habitat, time and memory. My sculptures are a rever...

"Clay is a fantastic material that allows me to create whatever surface I want to help enhance my narratives. It is so versatile and both the additive and subtractive qualities make ...

Molly Schulps is an artist and educator living in both California and Oregon. She grew up in Southern California and was deeply influenced by her father who was a successful educator...

Delicate wave-like patterns swirl around this gorgeous vessel by Paula Murray. Creamy white porcelain—her own recipe for clay and thin ocean-blue veins appear to emulate the natural ...

"Take Out (Csirke-Fogo)" is an original lithograph on Gampi paper, and glazed porcelain artwork by Yoonmi Nam measuring 5”h x 13”w x 16”d (variable). Yoonmi...

ADRIANA MARMOREK FLOWER TO BEE, 2019 porcelain, magnet 13.19 x 7.09 x 10.63 in. 33.5 x 18 x 27 cm.

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...