Sentences with phrase «artist space intervention»

The Occupy Wall Street Arts and Culture working group has released an official statement in response to the Artist Space intervention.

Not exact matches

Ida Marie Toft is a media artist and digital designer, working in collaborative groups to create games and interventions in public spaces.

EWA AXELRAD / / PROFILE OF THE ARTIST By Alfredo Cramerotti > click here to download PDF Ewa Axelrad's works are connected to specific spaces, functioning as place responsive interventions.

The four artists engaged strategies like appropriation, intervention, and withdrawal, and in this spirit, Christopher D'Arcangelo requested that his name be removed from the brochure and replaced with blank space.

In the current «Apotheosis,» Korean artists Jinsu Han, an inventor of mechanical engines that do such things as make paintings untouched by the human hand, and Jong Oh, whose minimal interventions with string, Plexiglas, and weight reconstruct space in subtle but far - reaching ways, renewed the entire abandoned building into a grand art project.

The exhibition highlights the political dialogue inherent in the artist's artistic interventions — from his concern for the extreme plight of the homeless, his interest in direct community engagement, his belief that we should expand our lived experience of a city into its underground and other inaccessible spaces, and his commentary on development and socioeconomic stratification.

In addition, Kopelman has published a number artist books including: Three interventions in a space (2003) and Notes on Representation, volumes I (2006), II, III and IV (2011), V (2013), VI (2014).

From the seminal performance work by Rachel Rosenthal, the early queer video work of EZTV, boundary breaking art installations by Barbara T. Smith, the pioneering media explorations by Electronic Café International, to the feminist media interventions of Suzanne Lacy and Leslie Labowitz - Starus, these five influential and often overlooked artists and collaborative arts groups were fundamental to charting the course for the artist space movement and its vision of egalitarian artistic production and reception.

Last year, Theaster Gates and a team of collaborators took over a run - down building in Kassel, Germany called Huguenot House, renovating the space for performances and creative interventions as part of 12 Ballads for Huguenot House, the artist's contribution to dOCUMENTA (13).

«Facts on the Ground» features his recent series (of the same name), which captures the artist's poetic interventions at meaningful public spaces across Israel and Palestine.

Although the projects are presented separately, the intervention of each of these artists in the space generates an out - of - synch conversation between their practices on the basis of the idea of the local, global, historical, technological and performative, beginning with the shared horizon of dissidence.

It interacts with Mexican artist José Davila's public art installation Untitled (The Space Beneath Us), an architectural intervention made of ceramic tiles that was installed in front of the Bass Museum of Art and that translates the Homage to the Square series of paintings by the German - born American artist Joseph Albers into sculpture.

Pablo Bronstein's unique intervention at the ICA forms a point of reference and springboard from which a diverse range of programmed and spontaneous events challenge and engage audiences over the course of the exhibition, inviting artists and audiences to experience the ICA in deconstructed and reinterpreted spaces.

A playful exploration of selfie culture and an intervention into the space of the art fair, where women have traditionally been muses for male artists, «Hello Selfie Miami» invites viewers to consider their roles as spectators and as fair goers.

An outdoor intervention extends the dialogue into the public space, a strategy in which the artist invites viewers to integrate an experience with color into their daily routines.

These folding screens, originally conceived by the artist for his own apartment, create an architectural intervention within the exhibition space, simultaneously connecting to the images occupying the gallery.

the Berlin - based artist collective Club Real aims to explore these questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

In a city that is becoming more and more dense and utilized, the Berlin - based artist collective Club Real aims to explore the above questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

It achieves this by inviting emerging and established artists to respond to its exhibition space with interventions, performances, and long - running public program series, that allow them to develop projects and engage with audiences.

In Paul Morrison's first solo exhibition in London since 2008, for which he has executed a major architectural intervention on the façade of the gallery and installed a monumental white sculpture within the main space, the artist extends his enquiry into the nature of representation, and the representation of nature.

Carola Bravo is a Miami based artist well known for her immersive video - installations, site - specific installations, urban interventions, and intimate studio artworks that address space, changing territories and their geometry.

Artists will include Simon & Tom Bloor, who will turn the gallery into a studio space, while Liverpool - based artist Emily Speed will make a number of playful architectural interventions.

«Mahama creates spaces of social intervention that probe the boundaries between artistic antagonism and civil participation» Both artists have participated in the coveted Venice Biennale.

This exhibition of paintings and watercolours, split across the gallery's two venues (28 avenue Matignon and 6 rue du Pont de Lodi), presents a practice premised upon the tension between raw material — whether canvas, found object, or space — and the artist's respectful intervention into it.

Those conversations influenced the artist's interventions into spaces throughout the building.

The concrete structures are important examples of LeWitt's approach to Minimalism and composition, and an expression of the artist's engagement with urbanism and intervention with public space.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Returning to Mexico after his solo exhibition at the Sala de Arte Público Siqueiros in 2012, the artist will present a series of small interventions both inside and outside the exhibition space.

MAGALI REUS: AS MIST, DESCRIPTION Mar 23 - May 27, 2018 London - based Dutch artist Magali Reus's first major institutional solo exhibition in London comprises an entirely new body of work, framed by architectural interventions designed specifically for the South London Gallery's main space.

The artists were given a free hand to deal with the photographic intervention already installed in the space as they pleased.

Barcelona - based artist Frederic Amat (born 1952) creates multimedia interventions in natural and urban spaces.

The institution typically stages four to six exhibitions per year across its three floors, ranging from thematic group exhibitions and solo presentations by emergent and established artists from around the globe to long - term commissions in situ and interventions in public space.

During the last few years, these artists have made several exhibitions and public space interventions throughout Europe, North America, South America, Russia and the Middle East.

Luminous Intervention is an artist collective that uses large - scale video projections in public spaces to highlight social and economic issues.

Curated by Michael Rooks «Teaching an Old Dog New Tricks; Recent Developments in Painting» Den Frie Udstillingsbygning, Copenhagen, Denmark «HyperSurface», OVADA, Oxford, UK «Schil / Ders», De Constant Rebecqueplein (DCR), The Hague, Netherlands «HyperSurface», Rod Barton Invites, London «Parallax», Fieldgate Gallery, London 2007 «Existencias», Museo De Arte Contemporaneo De Castilla Y Leon, Leon, Spain «Design for Living», Initial Access, Wolverhampton, England «Raumwelten», Kunsthalle Arnstadt, Arnstadt, Germany «Odd Spaces», Galerie Møller Witt, Aarhus, Denmark Artist Intervention, Commissioned by Vienna Art Week and the City of Vienna, Austria 2006 Recent Acquisitions, Hamburger Banhof, Berlin, Germany «The City is Not a Tree» Alon Segev Gallery, Tel - Aviv, Israel «Slider» Cell Projects, London 2005 «Ian Monroe and Emma Stibbon: Utopian Architecture», Upstairs Berlin, Germany «Infrastructure» Studio Voltaire, London «Winterzauber» Upstairs Berlin, Germany 2004 «Edge of the Real», The Whitechapel, London «Selected Sculpture» MW Projects, London «Cinderella» Trailer Projects, London «Contra Pop» Vamiali's Gallery, Athens, Greece 2003 «Bag Lady» Cell Projects, London «Reduced» Century Gallery, London «Debris» Martinez Gallery, Brooklyn «Godzilla» Trailer Projects, London Saatchi Gallery, County Hall, London «The Queen Mum Show» One in the Other Gallery, London «Chockerfuckinblocked» Jeffery Charles Gallery, London «RSVP» 5 Cork Street, London 2002 «Present» Hammer Sidi Gallery, London «The Way to Happiness» VTO Gallery, London «Trailer Presents» Trailer Projects, London «Lend us # 100m» 21 Dingley Road, London

The work takes the form of an architectural intervention including sculptural floor objects and it combines elements of historical research around the first human journey into outer space as well as participatory conversations with more than 90inhabitants in Hangzhou, among them students of the China Academy of Art of Hangzhou where the artist is presently a visiting artist.

The second of three artists exhibiting at SITE in the Unsuspected Possibilities show, Sarah Oppenheimer delights in creating architectural interventions that force viewers to contemplate optical illusions, the nature of space, and their own relationship with the built environment.

Daniel Iregui (iregular.io) is a new media artist who creates interactive sculptures, spaces and architectural interventions using technology as a tool and an aesthetic.

The 2016 fellowship considers artists creating objects, installations or interventions which enrich the texture and visual experience of our urban spaces.

Neither a survey nor an archival exhibition, «This Way Out of England» seeks to emulate the spirit of Director Sigi Krauss» and Assistant Director Rosetta Brooks» space by inviting a number of artists to rethink their original interventions at Gallery House.

2012 has been an incredibly busy period for Lyken receiving continued Press attention with two solo exhibitions; a solo album called Bit Rot; a fashion collaboration with Che Camille; The «Forms & Spaces» interventions with Teo Moneyless Pirisi around Scotland; remixes, group shows and murals including See No Evil in Bristol where he was among 30 handpicked artists whos work was viewed by crowds of 50000 attending the worlds largest Street Art Festival.

Three day project with artists, curators, gallerists, etc. to gather into a discussion of the situation of contemporary art today and interventions at the public space

The second of three artists exhibiting at SITE in the Unsuspected Possibilities show, Sarah Oppenheimer delights in creating architectural interventions that force viewers to contemplate optical illusions, the nature of space, and their own relationship... read more

One space hosts Los Angeles - based artists whom she has invited to participate by intervening in her own practice of intervention.

1990 Information, Terrain, San Francisco, California, US The 60s Revisited - New Concepts / New Materials, Leo Castelli Gallery, New York, US Various Small Fires in the Gutenberg Galaxy, Galerie Maier - Hahn, Dusseldorf, DE Time Span, Fundacio Caixa de Pensions, Barcelona, ES Aquarian Artists, University of Rhode Island, Kingston, Rhode Island, US Fragments, Parts, Wholes / The Body and Culture, White Columns, New York, US Che Fare: Concept Art / Minimal / Art Povera / Land Art, Kunsthalle Bielefeld, Bielefeld, DE Kunstenaarsboeken uit de verzameling A.S.P.C., Provinciaal Museum Hasselt, Hasselt, BE Group Show, Mai 36 Gallerie, Germany: Art Frankfurt, CH MeaMemphis Collezione» 89, Art to Use, Frankfurt A.M., DE Group Show, Galeria Marga Paz, Madrid, ES 5 Galerien zu Gast bei Breuninger, Brigitte March Galerie, Stuttgart, DE The Readymade Boomerang - 8th Biennale of Sydney, Art Gallery of New South Wales, Sydney, AU Saga 90, Eric Linard Editions, Grand - Palais, Paris, FR Concept Art, Deichtorhallen, Hamburg, DE Dreams of Artists, A Metamemphis Collection, 121 Art Gallery, Antwerpen, BE Two Decades of American Art: The 60s & 70s, Nassau County Museum of Art, Roslyn Harbor, US RE: Framing / Cartoons, Loughelton Gallery, New York, US; Wexner Center for the Arts, Ohio, US; Gallery A, The Ohio State University, Columbus, Ohio, US Robert Gober, Craigie Horsfield, Lawrence Weiner, Barbara Gladstone Gallery, New York, US Wir Nehmen an der Art, Mai 36 Galerie, Basel Art Fair, Basel, CH Word as Image: American Art 1960 - 1990, Milwaukee Art Museum, Milwaukee, Wisconsin, US; Oklahoma City Art Museum, Oklahoma, US; Contemporary Art Museum, Houston, Texas, US A Group Show, Marian Goodman Gallery, New York, US Selected Prints and Multiples, Mai 36 Gallery, Lucerne, CH Red, Galerie Christine and Isy Brachot, Brussels, BE Un Choix d'Art Minimal dans la Collection Panza, ARC, Paris, FR Children's Aids Project, Daniel Weinberg Gallery, Santa Monica, California, US Interventions / An Exhibition from the Collection of Delfryd Celf, Art Gallery of Ontario, Toronto, CA Savoire Faire / Savoire Vivre, Centre International d'Art Contemporain de Montreal, Montreal, CA Art Billboards in the Hague - Southwest, The Hague, NL The Readymade Boomerang Print Portfolio, Galerie Vorsetzen, Hamburg, DE Time Space Place, Galerie Ghislaine Hussenot, Paris, FR High Season I...

Natual Porto Art Show, City of Porto, Casa da Música, PT Dieu Donné Annual Benefit, Dieu Donné Gallery, New York, US Just Love Me, Mudam Luxembourg, Luxembourg, LU TANK Art Attack Launch: Artists Support Women for Women International, DKNY, London, UK The Crude and the Rare, 41 Cooper Gallery, The Cooper Union, New York, US Contemporary Magic: A Tarot Deck Art Project, The National Arts Club, New York, US Platform 2010 / Projected Image, Artsonje Center, Seoul, KR NY Art Book Fair, Electronic Arts Intermix, MOMA P.S. 1, Long Island City, New York, US Broken Off, screening Estoril Film Festival, various cinemas in Estoril, PT 12 films and videos by Lawrence Weiner, screening Time / Store, e-flux, New York, US Der erste Impuls Skizzen Zeichnungen 1958 - 2010, Brigitte March International Contemporary Art, Stuttgart, DE Yes Or Yes, Yes Or Yes 2, curated by Lisa Holzer and Chiara Minchio, Nice and Fit, Berlin, DE Deutsche Angst, audio Painting and Sculpture, Lehmann Maupin, New York, US Je crois aux miracles, Collection Lambert en Avignon, Avignon, FR The Winter Show, i8 Gallery, Reykjavik, IS Display: Objects, Buildings and Space, Palácio Quintela, Lisbon, PT Collection: MOCA's First Thirty Years, Museum of Contemporary Art, Los Angeles, California, US Contemplating the Void: Interventions in the Guggenheim Museum, Solomon R. Guggenheim Museum, New York, US

Swiss artist Eric Hattan (born 1955) engages with the everyday through interventions that may present furniture on the ceiling, displaced street lamps in gallery spaces or videos of the artist turning packaging inside out.

In the «80s, it may have not been the most visible art world practice you could see, but Leo Castelli gave time and space to Artists» Call Against US Intervention in Central America and Tom Lawson, Coosje van Bruggen and Claes Oldenburg, and many, many others helped organize it.

Christian L. Frock: Independent curator, writer, and frequent contributor to KQED Arts, Art Practical, San Francisco Arts Monthly, San Francisco Chronicle, focusing on the role of art and artists with interventions in the public space and social justice.

With a preference for spontaneous, ephemeral interventions created in the public space, the artist tackles social themes like immigration, gender discrimination, the tension between modernity and tradition, and the impact of the capitalistic system on other cultures and societies.