Diana Al-Hadid’s ghostly sculptures, which take influence from historical architecture, mythology, and beyond, are currently inhabiting both a gallery at Frist Art Museum and outdoor gardens at Cheekwood in concurrent exhibitions in Nashville. “Subliminations” collects varying types of work from the artist, with both figurative sculpture and wall reliefs. Above and below interior photos are by John Schweikert.
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“nfluenced by a wide range of sources, including art, history, and literature of both Western and Eastern traditions, Islamic calligraphy, ancient architecture, and cartography, Al-Hadid creates impressionistic meditations on ruination and renewal,” the museum says. “Many of Al-Hadid’s sculptures appear suspended in a state of construction or collapse.”
Find Al-Hadid on the web here, and read more about her exhibitions on Frist Art Museum’s site. See more of Al-Hadid’s work outside of these exhibitions below.
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Lucy McRae's new "Compression Carpet offers a full embrace for those who feel like they need a hug, a meditation on how technology can aid intimacy or support. The "body architect" recently showed the device at Festival of the Impossible in San Francisco. For some, the device may recall the hug machine created by Temple Grandin for stress relief and therapy. With her device, McCrae says, you "relinquish control to the hands of a stranger as your 'servicer' decides the firmness of your hug."
Kinetic art is art from any medium that contains movement perceivable by the viewer or depends on motion for its effect. For the 11 international artists in the upcoming exhibit "Perpetual Motion" at Heron Arts in San Francisco, movement is fundamental to storytelling. Their collective kinetic works offer a modern interpretation of this age old art form that redefined sculpture into more than three-dimensional- it transformed our perceptions of line, color and life itself into an extension of the human imagination.