Three dimensional objects made by Elliott Earls
New for September 2020. An edition of 12 polychrome figurines/sculptures. “Grotesque Trophy Suede (Artifact #8)” By Elliott Earls is precision machined from
engineered wood. This wall mounted small sculpture measures 12″h x 8″w x 5.5″d. It was released on September 15th, 2020 at 12PM EST on www.minislimited.com.
New for September 2020. An edition of 12 polychrome figurines/sculptures. “Grotesque Trophy (Artifact #7)” By Elliott Earls is precision machined from High Density Polyurethane and wood. This wall mounted small sculpture measures 12″h x 8″w x 5.5″d. It was released on September 15th, 2020 at 12PM EST on www.minislimited.com.
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Can understanding how synthesizers like the Minimoog and Nordlead shape sound help distinguish between “good” and “bad” in contemporary art? The “Earls ADSR Synthesis Model For The Evaluation of Works of Visual Art” is a tool to help the studio artist critically assess works of visual art. Issues of value and quality are notoriously problematic […]
This precision machined, hand-painted sculpture is produced in an edition of 3 signed and numbered copies. Measuring 4.2″(wide) x 5.1″ (high) x 1.4″ (deep), this sculpture has a very organic feel and a substantial weight for an object its’ size. This mini sculpture was produced by the artist Elliott Earls in advance of his […]
12″(tall) x 9″(wide) x 7″(deep) Plaster and pigment. This object is now available through minislimited.com. This is the source from which the June and July 2016 prints were drawn.
This untitled sculpture by Elliott Earls is now available through minislimited. This piece was inspired by the architectural ornament embedded in the facades at the Cranbrook Educational Community. This piece is precision machined in the studio of Elliott Earls and was released in an edition of 10 signed and numbered copies. This sculpture measures 4.25w […]
A close look at the machining of one of Elliott Earls’ limited edition objects provides the background for a discussion of how critical theory relates to practice. In this episode Elliott provides a suggestion for helping you move your studio practice to a more contemporary space. This episode also features Joshua Ray Stephens as the Unholy […]
Episode 7 of “Studio Practice.” In this episode Elliott Earls offers suggestions on how to learn from the critique process, shows an example of integrating family into a studio practice, discusses the benefits of failure. This episode features break dancing (isolations) and Elliott’s talk at The Drawing Center in New York. Episode Notes: David Bohm […]
This piece was completed in May 2014 prior to a group show that I was part of at Wasserman Projects. The piece is machined from a single billet of HDU. The bronze triple-head is a variation of the cyclops theme that has recurred throughout my work for nearly 25 years. The letterforms are expoy […]
This chromed HDU sculpture was billet milled by Elliott Earls from a solid block of high density urethane foam in an edition of five. Each copy is signed and numbered by the artist. This piece was first exhibited at the Downtown Art Fair in Manhattan through Wasserman Projects. This piece is available through minislimited. Twitter […]
In 1999 I was awarded an Emerging Artist grant by the Wooster Group in Manhattan. I spent a week working with director Richard Kimmel and the Wooster Group’s production team before a weekend of shows. The video posted here is a super short time-lapse I recently found on an old hard drive of mine. Elliott Earls performing […]
$3500.00 each Super Anti-Zero 12 is now available through www.minislimited.com. Each object is precision CNC machined from a solid block of ebonized Aspen. This object is limited to an edition of 10 signed and numbered copies. Available at www.minislimited.com Super Anti-Zero 12 is a limited edition low-relief sculptural object by Elliott Earls. Made from a stack laminated ebonized panel, each piece […]
This bust is wrought from unfiltered beeswax, dead bees, horse hair and linen string. The piece is entitled Colony Collapse Disorder, and draws on hybrid lowbrow/neoclassical formal language. This bust was the central component in my larger installation at the Milan Triennial entitled Elegy for the Collapse of the Empire (Detroit, Craft and Disintegration). […]
In late 2009 I collaborated with William Massie, Beverly Fishman and Heather McGill on the design of a VIP lounge for the AXA Corporation at Art Basel Miami Beach. The piece was subsequently acquisitioned into the permanent collection of the Miami Art Museum. These photos document the result of that collaboration. The documentation below does […]
Documentation of my march 2012 installation at the University of Akron Folk Hall. “The Collider Exhibition Series examines the impact, implications and inspiration the phenomenon generally categorized under the umbrella term New Media within design practice and fine arts.” Twitter Instagram YouTube Gold Boots from Elliott Earls Collider Installation https://vimeo.com/119240316 Pictures from the Installation Detail of […]
This video depicts the first version of a pneumatic drum kit that I designed and fabricated for use within my “Bull and Wounded Horse” performance piece. As with most of my work, I also see these drums as sculptural objects. So while the drums find a use on stage, they are also intended to create music […]
In 2009 I was commissioned by Katherin and Klaus Entenmann to produce a Smart Car paint job. I worked on the drawings for the car for about three weeks. This is the result. The car is entitled Candy and Horses. Below I have a very small gallery of drawings from the process. If you are interested […]
Prior to the exhibition ComicRelief at WassermanProjects, I spent a lot of time considering methods to extend graphic language into three dimensional objects. I think my work compositionally, has been marked by a simple binary. One portion of my work has relied on an almost baroque compositional sensibility, while the other has been simple. This is a very long way […]
The James Pearson Duffy Department of Art and Art History’s Elaine L. Jacob Gallery is pleased to present HYPERTENSION, April 26 through July 19, 2013. HYPERTENSION brings together multi-media artists and designers whose work reflects the blurring of artistic disciplines evident in our contemporary visual culture. The selected works disrupt boundaries between the cerebral and […]
I’ve been developing a body of work that extends my graphic language into low relief objects. This 18 x 24 x 2.25″ ebonized Apsen panel is the latest example. Note the inclusion of the cyclops head from my Elegy for the Collapse of the Empireinstallation. Drag the Slider to see Work in Chrome vs Aspen […]
The Blog Art 21, has an interesting article posted today entitled The Anchor Art Museums in and of Detroit. In the Article Colin Darke interviews me about the importance of the museum, and he profiles my new work Elegy for the Collapse of the Empire. Interpretive skills are a critical part of a Museum’s mission. Elliott […]
One of many projects currently underway in the studio is an identity system for the Earls summer studio on Lake Leelanau. This large cedar sign is one of the elements of this system.
Over the course of the past two months I have been working on a new body of work that attempts to take a number of ideas normally found in traditional graphic design practice and extrapolate them into three-dimensions. These are but a few of the latest examples of a similar conceptual program that spans close […]
I was pleased to see my installation at the University of Akron prominently featured in the local newspaper, only to read that Mark Amerika had made it. Should I demand a retraction?
In early June 2011, I was asked to participate in an exhibition entitled Graphic Design Worlds at the Triennale Design Museum in Milan. On January 19th, 2011 I traveled with Cranbrook graduate students Nicole Killian and Wesley Taylor to Milan for the installation and the subsequent opening. In December 2008, I produced a piece entitled “Thoughts on Democracy” for the […]
Each day as I walk to my studio, I pass the figurative bronze work of Carl Milles. Eliel Sarrinen’s plan for the Cranbrook Educational Community has figurative bronze sculpture deeply integrated into the architectural site. For nine years I’ve looked at a sculptural form that is deeply unfashionable. Figurative bronze sculpture has a tenuous relationship with serious contemporary art. Our urban […]