Sentences with phrase «practice all artists use»

The Maginot Line illustrates the variety of drawing practices artists use to explore the narrative nature of the line as the vehicle for creating shape, depth and form.

In their practice the artists use multidisciplinary forms, which include situationist interventions, workshops and installations that serve as platform for environmental experience.

(Moscow, Russia) In his artistic practice the artist uses performance, installation, photography, video and drawings; his aesthetics charged with eroticism, religious symbols, popular culture and social allegory.

Not exact matches

New York's Gagosian Gallery and Jeff Koons were sued by a collector who accused gallery founder Larry Gagosian and the artist of scheming to exploit demand for his works and using «inappropriate and highly questionable practices» to fund extravagant lifestyles.

But the company has made strides to be more transparent, setting up a dedicated artist hub on the site this fall that details suggested best practices and the formula they use for paying royalties.

Yet if they are to understand the arts significantly, they too must enter so fully into the works they study, by becoming familiar with the possibilities and limitations of the materials used and with the processes of transforming them, that they pass beyond passive receptivity to the practice of virtual recreation, through imaginative participation in the artist's constructive activity.

«Madder dye extracted from roots was often used to color textiles and leather in ancient Egypt, and we see from the chemical mapping of the portrait that the artist chose to paint the noblewoman's dress with madder lake pigment, thus imitating contemporary practices.»

The study, which used new diagnostic techniques, should yield a greater understanding of the practices of artists from long ago, and it could open the way for more detailed analyses of the world's most precious artifacts.

While I have thoroughly enjoyed my experience here, often times I found myself realizing that certain teaching and learning frameworks presented in class were the very same ones espoused and developed for teaching artists and community - based educators, especially those using culturally responsive arts in their practice in urban settings.

These practices can be augmented with the treasure trove of cool technologies available today; my students can connect with artists all over the country for a masterclass using Skype, write music for class on free notation programs like MuseScore and Noteflight, create their own playlists of listening examples for a piece of music on Spotify and YouTube, and work collaboratively on music projects through Google Suite's Flat extension.

Accent on Art Activities by Lonnie Dai Zovi is designed to be used with the Accent on Art packets available here on TES (El Greco, Velasquez, Goya, Picasso, Dali, Posada, Rivera, Orozco, Kahlo, and Siqueiros) The activities include: - Vocabulary practice used throughout the readings - Map work (Mexico, Spain and their artists)- Timeline including world and artists» info - Timeline activities - Graphic organizer activities - Misc.

She is a Master Teaching Artist whose teaching practice uses improvisation, joy, humor, courage and risk to find paths to understanding and expression of creative voices.

This practice is called astroturfing and it's used by politicians, corporations and yes, even artists.

The certified social media copywriters and graphic artists of InTouch Practice Communications maximize the reach of your message by understanding the mediums, the behaviors of those who use those channels, and creating relevant, compelling custom content for your clinic that is delivered in a consistent manner.

We'll use the whole experience to build out a best - practice crowdfunding guide for our community — and we'll raise a bunch of funds for artists in the process.

When it comes to performance works, smaller really is better: a smaller enterprise lends itself to hybrid business practices that continue to emerge as artists use their creativity to tackle the business side of making art.

Its July 2004 newsletter, largely devoted to the subject, issued a call to «individual artists to learn about safe practices, to use nontoxic materials wherever possible, and to set up safe, environmentally responsible studios.»

On the other hand, if you're able to use your creative mind to offer somethingon fivrr that would be fun, easy, and related somehow to the work you really love to do (rather than something that feels trivial) then it could be a stream of income to test ideas, practice sketching out quirky concepts, and as Chris said above, «create value, relationships or a portfolio that will build over time», selling work on fivrr / or donating work to silent auctions for organizations you believe in could complement a proactive artist's other marketing efforts.

Among these, Dale Harding, a descendant of the Bidjara, Ghungalu and Garingbal people of Central Queensland, he will create a new wall - based work at Tate Liverpool inspired by rock art sites in Queensland, using the stencil technique practices of the artist's ancestors.

Using only this humble material, which is ubiquitous to the point of invisibility in everyday life, the artists in The Paper Sculpture Show offer a visually stunning, conceptually rich, and playfully hands - on exploration of artistic practice today.

In other cases, the artist's use of paper is essential in varying their practice, contributing to a greater narrative.

We can also draw attention to the practices and methods artists use to create a singular characteristic.»

At Fourteen30 Contemporary, Rafferty, a participant in this year's Whitney Biennial, presents new work concerning language and the body, a connection bridged through the concept of «figure drawing,» which applies both to the classical practice of artists observing and representing a model as well as using the innate elasticity of words to suggest multiple, sometimes contradictory meanings.

Eleanor Antin is one of the preeminent female artists of our time, using her remarkably diverse practice of performance, film, installation, drawing, writing and photography to explore the nuances of gender, race and identity.

Paper in Practice presents work by artists who consider paper an important part of their oeuvre, and whose use of paper is markedly diverse, yet also critical in relation to their individual output, overall.

Some of the artists mine popular culture to produce scathing or defamatory indictments of consumer mores; others take the moral corruptions of public and political acts as their defamed subject; and others practice détournement — using elements of well - known media to create new work with a different or opposing message — to elevate injury and injustice into the realm of high art.

He believed in a philosophy of art he called Art - as - Art and used his writing and satirical cartoons to advocate for abstract art and against what he described as «the disreputable practices of artists - as - artists».

Flavin has been credited with being «one of the first artists to make use of a basically progressional procedure,» and the systematic arrangement of color and light fixtures was an aspect of his work that not only led to it being characterized as Minimal art but which moreover influenced Conceptual artistic practices.

During the second half of the eighteenth century, the practice of using oil paint on paper while working outdoors became popular among landscape artists.

Curated by Tiffany Bell, this exhibition will examine Flavin's use of progressions and serial structures, ideas that were central to the artist's practice throughout his career.

This celebration of creative, costumed, spirited performers has informed the artist's multimedia art practice, including the use of nontraditional recycled materials.

Lawlor's visceral, action - based practice is situated somewhere between subjective gesture making and the performative techniques used by artists such as Shiraga Kazuo.

In the wake of the 2016 presidential election, where news media was deemed the «the enemy of the people,» and The New York Times directly attacked and labeled as «fake news,» FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O'Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice.

This exhibition uses these five artists / artist groups» as case studies to trace how their collaborative practices and alternative cultural infrastructures functioned like laboratories for testing the political possibilities of experimental artist - run spaces.

How to Flatten a Mountain is an exciting 12 days residency opportunity presented by PhotoIreland Foundation & Cow House Studios, and with the support of OPW, open to emerging and mid-career visual artists whose artistic practice in whole or part, makes use of digital and / or analogue photographic processes.

This special presentation by Victoria Miro in Schloss Sihlberg, Zürich considers the work of three artists, Idris Khan, Yayoi Kusama and Conrad Shawcross, focussing on an intersection of their practices through the use of abstraction and repetition.

On March 16 and 17, Using the Self to Imagine the World places a spotlight on the life and practice of Ree Morton, with participants including Tang Museum Director Ian Berry; artist Nayland Blake; art historian Sabine Folie; Alexander and Bonin Gallery Director Kathryn Gile; Founder and Principal of Art Agency, Partners, and Chairman of Sotheby's Fine Art Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid Sachs.

Taking the form of drawings, photographic series and video installations, his work consistently invokes the use of systems as generative part of the artist's practice, investigating the relationships between aesthetic experience, political beliefs and the formation of meaning.

He was among the first wave of South Korean artists to move to New York (his home since 1977) where he developed his signature process and style using ballpoint pen, a medium important to his practice over the decades.

Trying to accomplish exactly that with his artistic practice, the French artist going by his initials of JR uses the biggest museum in the world to carry his ideas across — the streets of the cities across the globe.

Among other topics, the conversation covered why the artist uses a common writing implement to produce some of her finest work and the artists who have most influenced her practice:

Recent projects such as Crash Pad for the 8th Berlin Biennial, Every End is a Beginning at the National Museum of Contemporary Art in Athens and Fin de Siècle at Swiss Institute will be used to highlight aspects from Angelidakis's exhibition practice where the artist becomes curator, the exhibition becomes a medium and the exhibition device an exhibited object.

EZTV was a pioneer in independent desktop video production, microcinema, self - distribution, artist - based curating, public practice, multimedia live performance and the use of video projection in exhibition settings.

(a (version) s) features original compositions from 10 sound artists who use sampling as an integral part of their practice.

Here's an image by our fabulous new Italian artist - Francesca Lupo uses her architectural practice in her fabulous mixed media collage.

The exhibition shows the range of materials and processes employed by artists today — appropriation, traditional studio practice, spatial interventions, digital production, collaboration and the use of chance and found objects, and offers an indication of what audiences may encounter in art galleries in the coming years.

Born and raised in South Korea, Il Lee has spent most of his adult life as an artist in New York City — his home since 1977 and where he developed his signature process and style using ballpoint pen, a medium important to his practice over the decades.

The artist's background in design informs her practice, which employs a variety of media: from video, sculpture, found drawings and street signs - to American security policy and the patterns used for traditional Persian carpets.

About the artist Kader Attia (b. 1970, France) grew up in both Algeria and the suburbs of Paris, and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that reflects on aesthetics and ethics of different cultures.

The point of departure for the exhibition is a particular shade of violet that all three artists coincidentally found themselves using, with this coincidence inspiring an interest in seeing their work side by side, to draw a line between their practices and their innovative approaches to painting.