Sentences with phrase «media as artistic practice»

With her talk entitled «Subverting the Media as Artistic Practice,» Amin was also a guest of «Fill in the Blanks III,» which is an open platform where discussions on space, history and knowledge take place.

Not exact matches

This also brought out how videogames were dominated by two particular props — guns and goals — leading me to suggest (back in 2011) that authentic artistic innovation in these media would have to subvert the player practices surrounding these props, as Dear Esther, Proteus, and everything by Tale of Tales does to great effect.

In this lecture, Steffen Krüger will use the works and artistic practice of Alex Israel as springboards into a discussion on digital media culture, social networking, self - valorisation and identity.

The program emphasizes creative and critical thinking, problem solving, visual thinking, perception and observation, as well as presenting traditional vocabulary, theory, media, and techniques of artistic practice.

Representing a diversity of artistic practices and media, all ten artists share a passion for New Orleans and a strong commitment to their own communities, as well as to the contemporary arts scene in the city.

Sabin Bors: How has the use of video changed in past years, in terms of an artistic practice and the use of media, from your perspective as curator and collector?

As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices.

Analyzing the changing nature of female identity and artistic practice as mediated by digital technology, Meier asks tough questions about the future of the art world and whether or not art will be successful if it does not receive a lot of attention on social media.

Paul Kuniholm Pauper's diverse artistic practice arises amidst issues such as consumerism, corporatocratic evolution, anthropological inquiry overlain popular culture, psychological therapeutic mechanisms, sound language, noise identity, compensatory behavior and durational Art, often in response to self - instigated antipathy toward social media and media distortion of identity.

Art historian Rhea Anastas, media historian Nadja Millner - Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small - scale organizations establish a kind of instant art history, serving museums and culture - at - large as test sites for new artistic practice.

Dr. Pauwels is currently completing her first book on the American artist Napoleon Sarony, whose complex legacy as a printmaker and photographer illuminates the ways in which commercial art and mass media shaped artistic practice and visual experience in the late nineteenth - century United States.

A collection that continues to grow and reflect the breadth of Paik's contribution to the fields of music, artistic practice and media arts as well as the blurring of these distinctions potentiated by his practice.

Not just interested in traditional demarcations of art, the pluralisation opened up discussions as to whether new media, such as television, might be included in a contemporary understanding of artistic practice.

It also reflected the pluralism of contemporary artistic practice: the use of media once considered non-traditional (such as video, computers, and found objects), an interest in temporality that took the form of short - lived installations, and the exploration of performative work.

Her artistic practice included a wide range of media, as well as pottery, and she created notable portrait busts of several Louisiana state governors.

Anna Virnich's artistic practice incorporates a variety of media, such as sculpture, installation, photography, video and textile - based tableaus made of found fabrics as well as new materials, stretched on wooden frames thus creating organic and almost painterly compositions that oscilate between transparency and density.

In their examinations of mediumism as a ritual, experimental and artistic practice each of them raise specific questions concerning media semantics, (exploring the politics of the aestheticisation, commodification and globalisation of ecstatic practices and their experimental appropriation and transformations through the means of art).

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

In their examinations of mediumism as a ritual, experimental and artistic practice, each of them raise specific questions concerning media semantics, exploring the politics of the aestheticisation, commodification and globalisation of ecstatic practices and their experimental appropriation and transformations through the means of art.

His artistic practice comprises a wide range of media, such as text, installations, and drawing.

Post-medium to me still is best as a term for getting to the core of what post-internet and post-digital tries to grasp, a condition of artistic practice that fuses digital into traditional media.

Considering that our perception of the world is determined by digital media as a language that modifies the appearance of forms, she places her artistic practice within this conception, penetrating into the digital field, venturing deeply between its pixels and luminous vibrations.

Artists of the decade often addressed these events specifically in their work, but also situated them within the context of changes particular to the art world, such as the «culture wars» surrounding artistic freedom and censorship; the impact of new media (video, sound, and digital art) on artistic practice; and the expansion of the global art market, with its explosion of art fairs and art markets.

14/05 Mass Media as Medium, Resident artist and Turkish newspaper columnist Işıl Eğrikavuk on the use of mass media as a medium in her artistic pracMedia as Medium, Resident artist and Turkish newspaper columnist Işıl Eğrikavuk on the use of mass media as a medium in her artistic pracmedia as a medium in her artistic practice.

suggests, the works in this project, although showing the semblances of traditional art - making techniques such as painting and printing, have been conceived in non-traditional environments and transported to our reality, offer an exciting glimpse into contemporary art practices that use technology and new media for artistic creation.

Constantly experimenting with new media such as linen, steel, aluminum, plexiglas, lumasite, vinyl, fiberglass, and corrugated paper, he is committed to straying from familar comforts and the investigation of uncharted territory in order to evolve his artistic practice.

The first Lunch Bytes discussion in Dublin invites artists and experts who have worked with, and written about, the medium of film / video to present and discuss their work in relation to traditional art historical disciplines and media, as well as the current digitisation of artistic practice.

With the vogue for Western science (rangaku, literally «Dutch studies») in the eighteenth century came a renewed, though marginal, artistic practice influenced by Western methods and media that lasted into the early nineteenth century; Western influence can also be seen in nineteenth - century prints by such artists as Katsushika Hokusai (c. 1760 — 1849).

We consider it mainly in connection with the history of artistic practice in the 20th and 21st centuries, when the expansion of industrial media and technologies incorporates within itself an interrogation of the new conditions of the production, distribution and status of the artwork as a commodity subject to market mechanisms.