Sentences with phrase «other contemporary artists using»

Other contemporary artists using geometry in their work include Alberto Gonzalez Vivo, Harriet Korman, Richard Kalina, Ann Pibal, and Jose Leon Cerillo.

Other contemporary artists using organic materials include Nick Cave, Christy Rupp, Doug Starn and Mike Starn, Richard Long, Andy Goldsworthy, and Christiane Löhr.

Many other contemporary artists use satire in their practices, including Richard Prince, Scott King, Hito Steyerl, and Jake and Dinos Chapman.

Not exact matches

Calligraphy, miniature painting, Sufi mysticism, and other traditions are the starting point for a new generation of artists from the Islamic world who are using the language of contemporary art to inflect their work with multiple layers of meaning.

Singh uses the history and physicality of materials as springboards for spatial interventions and philosophical inquiry, while Önürmen's work shares similar tactics as the other two artists in revealing the relationships and discrepancies between personal and public experience as seen through the lens of contemporary media.

The opportunity to develop additional programming as the result of the Tooker loan allows PAFA to pursue a symposium on a group of artists, including Peter Blume, George Tooker, Ivan Albright, and other Americans who used a realist method to invent their own worlds by transforming the symbolic language of Old Master painting into a contemporary idiom.

In the late 1960s and»70s, in particular, these artists and others used everyday materials as a challenge to the commercialised contemporary gallery system.

In Golden Arches, the artist has intentionally avoided the use of plastic and other contemporary mass - produced industrial goods, opting instead for such traditional sculpting materials as plaster, bronze and gold.

The masterful process of formal elements separates this artist from the other contemporary still life painters, placing Fish closer to the Impressionist's use of broken color with the aim of building forms.

LAND supports dynamic and unconventional artistic practices using a tripartite approach: Commissioning public projects of site - and situation - specific works with national and international contemporary artists Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities Offering additional programs such as performances, workshops, residencies, discussions, and publications LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large - scale, multi-artist, multi-site exhibitions and single - site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists

Calculated to stand out from the several dozen white male artists at the Biennial (and in every other high - profile show and job applicant pool), Scanlan uses «Woolford» to usurp the visibility accrued to minority artists in the contemporary art spotlight by the fact of their relative absence.

The exhibition presents over 50 historical and contemporary artists who make use of dolls, toys, mannequins, robots and other surrogates to create an expressive genre.

In How to See: Looking, Talking and Thinking about Art David Salle strips away complicated theory and describes contemporary art in the plain language artists use when talking to each other.

Disturbing Innocence features over 50 historical and contemporary artists whose use of dolls, toys, mannequins, robots, and other surrogates forms a deep and powerfully expressive genre.

While she shares many similarities with other contemporary artists through her use of materials, Orly uses a lighter touch than is found in the political commentaries of Laura Splan and Ghada Amer, and more closely resembles the autobiographical work of Tracey Emin.

This panel will discuss drawing's unique potential as manifested in Kara Walker's work, as well as that of other contemporary artists who use drawing to reframe social identity as it intersects directly with politics.

Then we will turn to the beginnings of film and move through video to contemporary moving image technologies used by artists including Philippe Parreno, Trisha Baga, and Josiah McElheny, among others.

This piece will showcase Franz West's interest in using the work of other contemporary artists in his own work.

An ardent voice in the contemporary art community, Price uses a range of media — digital paintings, sculptures, vacuum - formed reliefs, music and performance art — to investigate different means of dissemination of his and other artists» works in the Internet age.

Some of them transpose images from photographs of contemporary events; others recreate significant paintings from the history of art, using x-rays to excavate the artist's process.

Another trend that has widened the definition and scope of contemporary art has been the conceptually driven use of both photography and language as the substance of numerous works of art — in Kiefer's photographic collages, in Kruger's words and photographic images, in Bruce Nauman's neon phrases, in Lawrence Weiner's painted words, in Holzer's billboarded, carved, electronically reproduced, or otherwise created linguistic neotruisms, and in many other artists» works.

In fact, one could say that Sultan is a Contemporary Artist whose use of tar, spackle and other industrial materials, has helped him «pave» his own road into the annals of art history.

The contemporary artists gathered together in this exhibition use the self - portrait in these and other explorations to reflect contemporary life.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

1983 Presence Descrete, Musee des Beaux - Arts de Dijon, Dijon, FR Radio by Artists, Walter Phillips Gallery, The Banff Centre School of Fine Arts, Banff, CA In Other Words: Artists Use of Language - Part 2, Franklin Furnace, FR The Chinese Chance, an American Collection, The Butler Institute of American Art, Youngstown, Ohio, US Projects and Performances, Islip Art Museum, Islip, New York, US Live to Air, Franklin Furnace, New York, US Halle für Neue Kunst, Schaffhausen, CH The Rainer Speck Collection, Museum Haus Lange und Museum Haus Esters, Krefeld, DE Sculpture, Leo Castelli Gallery, New York, US Summer Show from the Collection, Van Abbemuseum, Eindhoven, NL Collection of the Museum Van Hedendaagse Kunst, Gent, Belgium, Musee d'Art Contemporain, Montreal, CA Projetto Genazzano, La Zattera di Babele, Genazzano, IT Conceptual, Rhonda Hoffman Gallery, Chicago, Illinois, US When Words Become Works, Minneapolis College of Art and Design, Minneapolis, Minnesota, US Masterworks of Conceptual Art, Paul Maenz, Cologne, DE Language, Drama, Source and Vision, The New Museum of Contemporary Art, New York, US ARS 83, The Art Museum of Ateneum, Helsinki, FI Word Works, Walker Art Center, Minneapolis, Minnesota, US Between Words and Things, Clare College, Cambridge, UK Festival d'Automne a Paris, Paris, FR The First Show: Painting and Sculpture from 8 Collections 1940 - 1980, The Museum of Contemporary Art, Los Angeles, California, US Hundreds of Drawings, Benefit Exhibition and Sale, Artists» Space, New York, US December Exhibition, Anthony d'Offay Gallery, London, UK American Video, Arts Council of Great Britain, London, UK There But For, screening Infermental II (video magazine), Hamburg, DE

In Other Words is an exhibition that explores relationships between art and text, featuring contemporary artists that use text in works of sculpture, installation, film and video.

With À la Lumière des Deux Mondes (At the Light of Both Worlds, 2005), a site - specific work created for the Louvre's glass pyramid — the first time a contemporary artist had exhibited in the institution — Tunga used one of the building's columns as a pivot on which various symbolically charged objects were balanced: gold and black skulls and a giant walking stick intertwined with braided hair on one side; a chain of skulls caught in a dark net falling towards a floor littered with golden and black reproductions of heads from the Louvre's classical sculptures on the other.

The Museum of Contemporary Art San Diego is looking for sites in the downtown San Diego area that can be used by artists — featured in the upcoming exhibition Viva la Revolución: A Dialogue with the Urban Landscape — to create murals and other site - specific works on exterior building walls.

Although her work has been described as Minimalist art, her inventive use of new materials (rubber, latex, fiberglass, string), together with her sexually suggestive shapes, lent her work an emotional power that eluded other top contemporary artists, such as Donald Judd (1928 - 94), Robert Morris (b. 1931) and Richard Serra (b. 1939), and led to her being labelled a «post-minimalist».

This exceptional exhibition which opens on January 15, 2011 and runs through March 27, 2011, explores issues relating to the artistic use of other artists» styles and images in historical and contemporary works.

Contemporary appropriation artists add a new dimension to the use of adopted images, as seen in the work of such artists as Mike Bidlo, David Bierk, George Deem, Audrey Flack, Kathleen Gilje, Paul Giovanopoulos, Deborah Kass, Jiri Kolar, Sherrie Levine, Carlo Mariani, Yasumasa Morimura, Vik Muniz, Richard Pettibone, Robert Rauschenberg, Andy Warhol and others, providing an instructive and stimulating counterpoint to the issues raised by the historical works in the show.

The organization's success challenges society's assumptions about inclusion and exclusion in art and culture, disability visibility, and access to creative expression as a human right; like any other contemporary artists, Creative Growth artists use art to tell their stories.

Works by such Pop artists as the Americans Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana and the Britons David Hockney and Peter Blake, among others, were characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography — taken from television, comic books, movie magazines, and all forms of advertising — was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed.

Kirstein describes in his text the importance of «simple clarity in documentary form» and «the contemporary consciousness of time» the camera offers, but he wants to show as well with his selection of photo artists that the artistic use of the camera has reached a new quality, that of eqaul status with other contemporary arts.

Hannah Hoch, Richard Huelsenbeck, John Heartfield, and others pioneered the technique of photomontage, using preexisting photographs, often drawn from mass - media sources, to create composite images that sharply critiqued German society and culture in the aftermath of World War I. Drawing on the foundations of Dada, neo-avant-garde artists of the 1950s like Robert Rauschenberg and Jasper Johns created assemblages that brought collage techniques into three dimensions — laying the groundwork for much contemporary sculpture — as well as works on paper that incorporated found elements drawn from the mass media and everyday life.

Other contemporary artists who use Polaroid film are Dawoud Bey, William Wegman, Duane Hanson, Jeremy Kost, and Marie Cosindas.

Other contemporary artists who use color blocking in their work include Carlos Alfonso, Paul Barlow, Anselm Reyle, Richard Tuttle, and Bryan Rowe.

Along with other contemporary, postmodern artists - Lara Schnitger, Shinique Smith and Sonia Gomes - they extend the use of fabric in a more assertive engagement with expansive space, and draw influences from the fashion of leather and lace (Schnitger); bold, psychedelic color (Smith, Barlow and Gomes); and pom - pom girl language (Barlow), with a touch of irony they inherit from Mike Kelley - who, of course, made fabric, traditionally used by women sculptors, famous.