Sentences with phrase «political role of the artist»

Columbia University School of the Arts; Sarah Charlesworth: The Philosophical and Political Role of the Artist, New York, NY; 15 June

Not exact matches

Through novels, theatre plays, lectures and installations, he scripts and performs his biography as fiction — an ongoing drama in which he plays the roles of artist, novelist, anthropologist, eroticist, architect and playwright, fusing the personal with universal socio - political and historical themes.

More than just an artist, Gates takes on the role of activist who brings about political and social change, in particular with his Dorchester Projects (2009).

The nationally touring exhibition American People, Black Light also highlighted Ringgold's role as an artist activist and included a selection of her political posters.

This juxtaposition of historic and contemporary work brings into critical focus the tremendous role Schapiro's femmages played in the reframing of craft and decoration, while shining a light on the way artists today, both distinguished and emerging, continue to approach the decorative as a language of abstraction tied to the personal and the political.

With black humor Altındere captures the political routine in Turkey at the beginning of the 21st century and enunciates the role of the artist being the critic of social conditions.

We're excited by the potential of these 35 works by 38 artists to reach people all over the world and to stimulate important conversations about the role art can play in political and social developments.

As much as it is a significant challenge, I see artists playing a huge role in shaping dialogue around issues affecting our environment and political processes — and South Florida is at center stage of many of those debates.

In her artist statement, rendered reluctantly, Walker asserts she is «tired of «being a role model»» and a featured member of «my racial group and / or gender niche,» her weariness stemming from «standing up, being counted... «having a voice»» in the face of current political strife and ever - present racism in the U.S. as revealed in white nationalist and white supremacist rallies and violence.

The show reflects on a number of interesting notions: the ways in which postwar black artists have constructed their identity through their reliance on abstraction; the formal affinities between artists of different generations; and the role of non-figurative art as both personal expression and political impetus.

After the performance concludes, the artist will be joined by Morgan Bassichis, Dominique Nisperos, Keisha Zollar, and moderator Bess Rowen for a discussion about the role of comedy in times of political unrest, and how one can utilize the genre to productively take on the establishment.

A fantastical place of fear, desire, refuge, conquest and decay, the North has played an increasingly important role in the work of contemporary artists interested in the socio - political issues of colonization and pollution, as well as aesthetic notions of the sublime.

This exhibition — the first critical examination of the significant, albeit brief, work of the four artists in 1967 — seeks to reexamine the group by placing its work in context with the broader conversations surrounding institutional critique, performance, and the role of painting as a political medium.

Taking its title from the artist's new, presented series, the show amplifies Esam's continued investigation and interest in rhetoric, more pertinently in the role of slogans in political campaigns.

Bringing together Old Masters and contemporary artists whose work spans more than 350 years, Creating the Countryside provokes reflection on the artistic, social and political forces that have played an important role in forming successive generations» perceptions of this «green and pleasant land».

At a time of political insanity such as that which is unfolding in this American election, Aitken suggested it was an artist's role to create alternative visions of society, or just to create for the hell of it.

Declaring «the personal is political,» feminist artists critiqued the objectification of women through the agency of performance art, often using their own bodies but also incorporating narrative strategies, autobiography, and role reversal.

These projects underscore the critical role of women — as activists, artists, and community leaders — in the cultural and political mobilization in response to crisis.

An installation dedicated to the performative videos of women artists, exploring the role of the body, complexity of the mind, and inequalities fostered by both gender and political prejudice — including Marina Abramović's AAA - AAA (1978), Joan Jonas's Vertical Role (1972), and Martha Rosler's Semiotics of the Kitchen (19role of the body, complexity of the mind, and inequalities fostered by both gender and political prejudice — including Marina Abramović's AAA - AAA (1978), Joan Jonas's Vertical Role (1972), and Martha Rosler's Semiotics of the Kitchen (19Role (1972), and Martha Rosler's Semiotics of the Kitchen (1975).

In engaging with Ireland's past and Palestine's present, it posed important questions on the role of the artist in responding to the social, cultural and political legacies of colonialism and conflict.

In keeping with the theme of the radical art practice of the 1970s and 80s, Two steps to the Left... takes US artist Adrian Piper's groundbreaking interactive performance Funk Lessons (1982 - 85) as a point of departure, to explore dance and movement as a political act; asking what role does dance and music play in the creation of momentary communities, of dissent and assent.

The growing profile of theory in art schools and a sense of urgency in the face of both technological change and political instability has led artists such as Hito Steyerl not only to broaden their artistic practice but also, increasingly, to play the role of the public intellectual.

In keeping with the theme of the radical art practice of the 1970s and 80s, Two steps to the Left... takes US artist Adrian Piper's groundbreaking interactive performanceFunk Lessons (1982 - 85) as a point of departure, to explore dance and movement as a political act; asking what role does dance and music play in the creation of momentary communities, of dissent and assent.

Underscoring conceptual parallels between the artists» process - oriented paintings, drawings, and sculpture, the presentation examines the role and impact of abstraction as a vehicle for artistic, social, and political commentary.

Iranian - born, Los Angeles — based artist Tala Madani (born 1981) addresses political subjects through paintings of ritualistic scenarios in which traditional gender roles are inverted.

Investigating all main aspects of Varela's artistic production, the show explores the role played by identity and personal history, social and political issues, as well as transnational experiences in the definition of the artist's oeuvre.

Taking the form of political posters, interactive installations, painting, drawing, sculpture, photography, and pedagogical display, the selected works both enact and question the role that artists play in communicating the issues affecting our broader culture.

«Performa 17» presents commissions and projects that examine immediate and critical concerns confronting our urban centers, the shifting political and cultural currents of our turbulent world today, and ultimately the role of the arts and of artists within our communities.

By exploring how the roles of these artists cross into the realm of activism, the show brings to the fore timely political tensions and social movements that are unfolding across the country.

We speak with the winner of the 2011 Creative Works Competition, Julia Vogl, an installation artist whose public artwork challenges the role of the artist and art in relation to political events.

Jackson tells me that she first encountered new ways to think about the historic role of abstraction during her undergraduate tenure at Cooper Union, where several artist teachers, including Walid Raad, Dore Ashton, and Doug Ashford, showed her that artists could be part of critical, public political theory.

IMMA25 Meets... Jesse Jones, 1st April 2015 IMMA25 presented a special screening of Jesse Jones» The Selfish Act of Community, followed by a discussion with the artist on the role of the group encounter therapy session in both The Selfish Act of Community and The Other North and how it may enact a performative constellation of wider political impulses within a society.

DW spoke to her about the state of the American Dream, the role of artists in turbulent political times and US President Donald Trump.

Broaching subjects of edification, art and the role of the artist, the exhibition When it stop dripping from the ceiling, curated by Bassam El Baroni, develops a historical and political gaze through the critical perspectives of each oeuvre.

IMMA25 Meets... Jesse Jones, 1st April 2015 IMMA25 presented a special screening of Jesse Jones» (External) The Selfish Act of Community, followed by a discussion with the artist on the role of the group encounter therapy session in both The Selfish Act of Community and The Other North and how it may enact a performative constellation of wider political impulses within a society.

Engaging social and political issues or depicting common humanity built around the sport, these artists reflect on the role of the game with society.

Bosslet's position on the role of the artist, at least as expressed in the works presented here, is ideologically conservative, but entirely honorable — especially in view of the desolation and destruction wreaked on the world in our century by various political utopianisms.

Deconstructing the images and then repositioning them over stenciled backgrounds, with pieces of torn canvas and wax for texture, Opalka questions the role of the artist in the cultural and political climate we live in today.

His SLG show brings together works that draw on socio - political observations, marginalised identities and the role of the artist in society.

By using these cheap, consumer items and manipulating them to produce art, artists are working in the tradition of Duchamp's readymades and the Arte Povera's critique of the convention and market, at the same time exploring the role and function of art in times of economic and political crisis.

The gallery platform, directed by Edge of Arabia founder Stephen Stapleton, bridges the gap between art descending from Europe, the United States and the Middle East, and their latest exhibition brings together six different artists exploring the role of art in activism, and also the role of political censorship in art creation and distribution.

It is the first to explore how those key moments — coinciding with times of American social, political, and cultural upheaval — challenged traditional hierarchies and assumptions about creativity, artistic practice, and the role of the artist.

In her exploration of the aesthetic and political realities of black culture, the author examines the figure of Hammons and the role of the African - American women artists as central in the expression of the black consciousness.

Beuys's political activism, his broad concept of creativity, and his commitment to both art and education challenged the traditional role of an artist.

The screening will be followed by a discussion with the artist on the role of the group encounter therapy session in both The Selfish Act of Community and The Other North and how it may enact a performative constellation of wider political impulses within a society.

Since its opening in March, the exhibition has been widely heralded for its «political charge» (see for example reviews by Peter Schjeldahl in The New Yorker and Jerry Saltz in New York Magazine), for its impressive diversity of artists included (though I wish this still was not so rare as to be newsworthy), and the controversies surrounding Jordan Wolfson's ultra-graphic Real violence (2017) and of course the Dana Schutz's painting of Emmett Till, Open Casket (2016), which not only raised highly problematic issues around race and its representation in contemporary American art, censorship, and quite interestingly to me at least, the role of abstraction, also had the unfortunate side effect of overshadowing so many stronger inclusions in this year's iteration.

What is the role of the contemporary artist today as we navigate through tumultuous political topics?

This special project will feature a public dialogue moderated by Tumelo Mosaka where artists Firelei Baez (NY), Jarrett Erasmus (SA), Sean Slemon (SA), and Xaviera Simmons (NY) will explore and discuss their practice in relation to Ubuntu philosophy, which emphasizes the importance of community and highlights the important role played by late Nelson Mandela in reconciling South Africa's political history with its goals of integration and inclusion.