Sentences with phrase «artist speaks in a way»

The Abundant Artist speaks in a way that resonates best with me.

Not exact matches

It has said that the whole experience of man in its every phase — from the genius of the artist and scientist and poet and thinker, to the commonplace life of the family and the daily round of the office and shop and school, not to speak of nature and its beauty, its regularity, its predictability, its reliability — is all in its way and in its degree a means for the divine self - revelation.

While many artists of that period are now assigned to comfortable niches, this strange Norwegian continues to speak to us in startling ways.

Of course, each artist's unique style will speak to us in a different way, so there can be no single answer.

In a way, The Disaster Artist is quite inspirational, due to a powerful message that's sure to speak to anyone (not just a filmmaker / artist) who's been in a position where all seemed losIn a way, The Disaster Artist is quite inspirational, due to a powerful message that's sure to speak to anyone (not just a filmmaker / artist) who's been in a position where all seemedArtist is quite inspirational, due to a powerful message that's sure to speak to anyone (not just a filmmaker / artist) who's been in a position where all seemedartist) who's been in a position where all seemed losin a position where all seemed lost.

The movie is inspiring and tragic, and, directed by street artist One9, it's captured in an artful, emotional way that will speak to an audience beyond rap fans.

Each volume takes me longer to read than most because of the text and panel heavy pages, which I quite like in a series that uses all that space to fill up with amusing character interaction, manga serialization education and a lot of artistic trials that will speak to any artist one way or another, especially when working to appeal to the masses at large.

So you need to be able to effectively communicate your vision as an artist and speak about your practice in an intelligent way, both verbally and in writing.

It brings together visual artists who use both written and spoken language structures in their work through translation, abbreviated means of communication such as symbols and glyphs, and visually coded ways of conveying information.

The artist approaches images in a unique way that speaks directly to the changing experience of images in the 1980s and 1990s, particularly as found in the development of early forms of virtual reality.

Harriet Kelley, whose art collection with husband Harmon Kelley forms the reason the exhibition came into being, spoke to the ways black artists represented their culture in the days of the 1920s Harlem Renaissance.

Up on the 34th floor, there ensues a fascinating discussion about Andre's evolution as an artist; but throughout, like something hanging in the air, there's the fact of what happened in this room three decades ago, and whether there is any way one might speak of it.

According to The Art Newspaper, the artist described the piece as a way to «provide a safe haven for viewers to speak their minds with their bodies, to reflect on how politics are pushing us to a cultural boil and to explore how we can work through our frustrations in ways that are healthy.

To get some insight into the thinking behind this body of work, and the way the artist — a winner of the Frieze Foundation's Cartier Award and a participant in the 2006 Whitney Biennial — approaches his work, Artspace editor - in - chief Andrew M. Goldstein spoke to him via telephone as he was setting up a new show, a mini survey part of the Glasgow International Arts Festival, curated by Sarah McCory.

What I have to say is very idiomatic to the potential of paint to speak in its own language... We seem to agree that music is capable of speaking for itself and a helpful invitation to my work might be to allow yourself to listen to the painting in that way,» says the artist.

Historian and curator Miwon Kwon speaks with artist Mark Dion about the epiphany he had while taking a dump in the rain forest, and how it lead to a brand new way of making work about the natural world.

Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 30?

As a way to emphasize the Museum's strong commitment to new art and new ideas, Outside the Box lecturers speak about the exhibitions or themes emergent in artists» works from the various positions they occupy, be they academic, personal, political, etc., and engage in rich investigations that illuminate and probe the Museum's current exhibition program.

Als spoke affectionately of the India - born British artist, discussing her precocious talent — she successfully applied to the Slade School of Art in London at age 15 — and the unfair way that her romantic relationship with the late painter Lucien Freud (her teacher at the Slade, with whom she had a son) overshadowed her early career.

More interesting is the element of undoing in this work, the way in which the artist makes and then breaks down his source connections, so to speak, undoing and defacing conventional ideas of painting, beauty, form, and structure.

You mentioned that several artists you spoke to about the show accused Rubenstein of attempting to rewrite history, and in a way I guess that's partly true.

«At the museum we're trying to speak to the Caribbean influences that run through Miami's culture, and Ward's work goes a long way in that respect as one of the most respected Jamaican artists today,» explained PAMM Associate Curator Diana Nawi.

«Through ICA SPEAKS, ICA Miami continues to bolster its commitment to providing a platform for contemporary artists worldwide and offers another way in which audiences can directly connect to the art of today.»

«ICA Miami is committed to producing new scholarship and dialogue around contemporary art, and ICA SPEAKS invites the museum's community to hear from today's cutting - edge artists and to engage with our permanent collection in new and meaningful ways.»

Tyson is one of those artists who can speak about his work with a sort of analytical grandiloquence, as if he's solving a theorem: «I am always trying to find some way in a solid and static artwork to show something dynamic.»

Of his many talents, Katz is able speak about art in wholly original way informed by his own interest as a painter but also as an artist who is deeply engaged with the history of painting but speaks of it in a muscular, personal way.

The ghost - like traces embodied in Brother (II), Jeune Danseur, and Voile speak of loss and transformation, and as more than literal representations of everyday objects, Ridgway's poetic images find a way to connect us with past experience, both with the artist's and perhaps with our own.

With Spoken: Portraits in Black, Consulting Curator Porchia Moore orchestrates a conversation via portraits about the ways in which African - American artists depict the lived experience of black people.

«Speaking of People» examines the ways in which contemporary artists including Jeremy Okai Davis, Margaret Gallagher, Kerry James Marshall, Lorna Simpson, Martine Syms and Purvis Young are developing concepts around the influential publications and incorporating their symbolic imagery in their work.

«Artists are working with material from the Web in a way that speaks to the way Pop art worked with appropriation strategies,» says Lauren Cornell, director of Rhizome, a nonprofit organization that supports new - media art.

In speaking about the recipients, Montblanc Cultural Foundation Chairmen Sam Bardaouil and Till Fellrath said: «The selection acknowledges the work of three incredibly talented artists who, each in her own way, have been pushing the formal boundaries of their respective disciplineIn speaking about the recipients, Montblanc Cultural Foundation Chairmen Sam Bardaouil and Till Fellrath said: «The selection acknowledges the work of three incredibly talented artists who, each in her own way, have been pushing the formal boundaries of their respective disciplinein her own way, have been pushing the formal boundaries of their respective disciplines.

Or retroactively begun, by artists looking to elbow their way into the art world; regardless, the use of press release art - speak in your statement is no different than complying with a dress code.

In terms of directly observing her subjects, Dodd paved the way for artists as distinct as Catherine Murphy, Sylvia Plimack - Mangold, and Josephine Halvorson: all of them make work that is plain spoken.

Last year, the artist made her way around an event called Greenpoint Open Studios in a black T - shirt and her distinctive round glasses, speaking with people she knew from two plus years in New York and others she didn't.

The artists will speak about their respective creative practices and touch on the SCAD Museum of Art commissions on view, which engage architectural space in unique ways.

The artist speaks a little about his process in an English - French translation with Galerie Perrotin: «The works for this show, then, are also the records of my learning along the way.

On this occasion, King's College offers an exploration of new ways and means of speaking about Sebald's work and influence, keeping some of the works that were presented in Barcelona — among them those by Susan Hiller, Guido van der Werve and Jeremy Wood — but also adding new material by international artists like Tess Jaray, Anselm Kiefer, Martin Kippenberger, George Shaw and others, with compositions consisting of texts and static or moving images.

«Speaking of People: Ebony, Jet and Contemporary Art» considers the innovative ways 16 artists reference the storied publications in their practices.

The work of these artists speaks to the growing use of various upholstery materials, and exciting new explorations of technique that contribute to the overall aesthetic of furniture in wonderful ways, says Toni Sikes, ## M: (full story) ## a juror for the show who heads Guild.com, one the worlds largest online collections of original art.

«I considered that in An Oak Tree I had deconstructed the work of art in such a way as to reveal its single basic and essential element,» he wrote, «belief that is the confident faith of the artist in his capacity to speak and the willing faith of the viewer in accepting what he has to say.»

The best artists here demonstrated that the way forward lies in encouraging hybridities and syncretism — the very «creolization» spoken of by Glissant.

«Speaking of People: Ebony, Jet and Contemporary Art» is published to coincide with the Studio Museum in Harlem exhibition of the same name, exploring the ways 16 artists have been inspired by the historic and culturally significant magazines.

Speaking of Condo's influence on the generations that have followed him, Laura Hoptman, curator in the Department of Painting and sculpture at the Museum of Modern Art stated, «George opened the door for artists to use the history of painting in a way that was not appropriation.»

Thousands of Chinese artists and students are now using the Mandarin version of Saatchi Online since it was launched in May this year to allow the Chinese art world to have its own interactive site which functions in the same way as the English - speaking site.

The work of these artists speaks to the growing use of various upholstery materials, and exciting new explorations of technique that contribute to the overall aesthetic of furniture in wonderful ways, says Toni Sikes, a juror for the show who heads Guild.com, one the worlds largest online collections of original art.

During the late - 1960s a type of performance art appeared, called Body art, in which the artist's own body became the «canvas», so to speak, for a passive work of art, or which then «performs» in a shocking way.

Each artist engaged the museum's collection and architecture in different ways, creating diverse projects — both aesthetically and conceptually — and employing various media and approaches from wall - drawing, rubber - painting, bicycle spoke sculpture, and digital photography to video projection and yarn installation.

All - media artists, sculptors, and photographers are invited to create visual works that interpret the theme «Figuratively Speaking» in two different ways: by depicting human forms, faces and features in representational or abstract works (portraiture, sculpture and all subject matter including people); or works which depict a broader interpretation of the theme, such as figurative language and figures of speech.

Although he chose not to be quoted directlyfor this article, the artist recently spoke fondly about the small size of the art world in the late 1940s and the way in which it was possible to meet all the poets and painters in very short order.

In this way, the works are precisely composed citations that speak directly to the viewer's preconceptions, by drawing upon both the artist's personal, and our collective, experience of the built environment as a site of memory that is adept at conveying both political and psychological significance.