Discover published sets by community

Materials: Carrara marble. Techniques: Renaissance sculpting techniques with chisels and mallets. Critiques: Praised for its anatomical accuracy and embodiment of Renaissance ideals.

Materials: Bronze. Techniques: Expressionist style, elongated forms. Critiques: Celebrated for encapsulating the existential experience post WWII, though some find the form repetitive.

Materials: Cedar wood. Techniques: Intuitive, hand-chiseling with circular saws. Critiques: Noted for its tactility and psychological depth, responding both to personal history and nature.

Materials: Spray paint, stencils. Techniques: Street art with provocative images. Critiques: Widely celebrated for social and political commentary, though sometimes dismissed as being overly simplistic or commercial.

Materials: Corten steel, forged steel. Techniques: Minimalist, site-specific installations with large-scale steel. Critiques: Applauded for the experiential nature of his work and engagement with space; criticized for the aggressive scale and industrial feel.

Materials: Steel, marble, bronze, and fabric. Techniques: Surrealist inspired, use of installation. Critiques: Praised for emotional depth and confronting themes of childhood, gender, and sexuality.

Materials: Initially plaster, but most famous in bronze. Techniques: Traditional lost-wax casting. Critiques: Celebrated for expressing thoughtful contemplation, but sometimes seen as over-represented.

Materials: Ready-mades, various objects. Techniques: Dadaism, appropriation and recontextualization. Critiques: Revered for questioning the definition of art, yet sometimes dismissed as mere provocation.

Materials: Bronze. Techniques: Renaissance casting techniques, contrapposto stance. Critiques: Recognized as the first freestanding nude male sculpture since antiquity; received mixed reactions on its androgynous appearance.

Materials: Varied, including bronze and sheet metal. Techniques: Cubist sculpture, assembly of disparate materials. Critiques: Both praised and criticized for nontraditional forms and challenging the notion of sculpture.

Materials: Weathering steel. Techniques: Steel fabrication, monumental scale. Critiques: Renowned for its role as a public landmark and its industrial aesthetic, occasionally criticized for its overwhelming scale.

Materials: Mixed-media installations. Techniques: Delicate assemblages, exploring the concept of landscape. Critiques: Praised for intricate craftsmanship and engaging spatial awareness, yet some question the ephemerality of her work.

Materials: Cut-paper silhouettes, installations. Techniques: Employing antebellum aesthetics to explore race, gender, and sexuality. Critiques: Lauded for conceptual depth and historical narrative; some discomfort with explicitness and racial themes.

Materials: Varied, including stainless steel, stone, and PVC. Techniques: Minimalistic forms, exploration of voids and pigments. Critiques: Praised for sensory and meditative works, though often involved in controversy over intellectual property.

Materials: Tree, carved back to its younger form. Techniques: Arte Povera, working with natural materials. Critiques: Celebrated for exploring the relationship between man, art, and nature, but sometimes deemed overly simple.

Materials: Georgia white marble. Techniques: Beaux-Arts style sculpture. Critiques: Celebrated for its commanding presence and representation of statesmanship, perceived as an iconic symbol of American ideals.

Materials: Printed on paper, also known for sculptures in bronze and Mexican wood carving. Techniques: Social realism and later abstraction. Critiques: Acclaimed for powerful political messages and representations of African American and Mexican life.

Materials: Mirror-polished stainless steel with transparent color coating. Techniques: Fabrication in a factory setting, high-gloss shiny surfaces. Critiques: Widely popular yet polarizing, criticized for epitomizing the commodification of art.

Materials: Marble. Techniques: High Baroque sculpture, combination of realism and spirituality. Critiques: Acclaimed for its dramatic use of space and emotive qualities, though some find it overly theatrical.

Materials: Usually cast in bronze, sometimes carved from stone. Techniques: Organic form, abstraction, direct carving. Critiques: Acclaimed for harmonious forms and representing the landscape.

Materials: Fabric, steel structures. Techniques: Large-scale environmental works, wrapping objects. Critiques: Celebrated for temporary, transformative art that made viewers see familiar sights anew; debated due to environmental and economic impact.

Materials: Photographic prints, public spaces. Techniques: Large-scale street art, 'pasting' images on urban landscapes. Critiques: Celebrated for spotlighting social issues and democratizing art; some critique the transient nature of his works.

Materials: Bronze, canvas. Techniques: Volumetric stylization and proportion. Critiques: Recognized for his unique, satirical style which comments on politics, society, and history; sometimes viewed as repetitive.

Materials: Black granite. Techniques: Minimalist design, cut into the earth. Critiques: Praised for its reflective solemnity and merging with the landscape; early reception was mixed due to its starkness.