Sentences with phrase «writing as artistic practice»

Not exact matches

Fusco's nuanced and considered writing on the topic, as well as her continued artistic practice, will undoubtedly prove a benchmark for moving the needle on discussions of postcolonial identity politics for years to come.

Far from attempting to isolate writing as an autonomous (art) practice, the speakers addressed the linguistic «poiesis» (making) as a model, or common denominator for constructions which may bind artistic practises to other things, places and professions.

What begins as an investigation of these interconnected «diamond communities», soon becomes an inquiry into the processes of documentary writing and artistic practice informed by anthropological fieldwork.

She is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations.

Spanning practice and theory, Hockney's investigation of artistic techniques has also developed through art - historical research, resulting in Secret Knowledge (2001), his publication on the optical devices used by the Old Masters, as well as A History of Pictures: From the Cave to the Computer Screen (2016), written in collaboration with art critic Martin Gayford and further exploring the many ways artists have pictured the world.

Their interdisciplinary approach to a developing artistic vision and practice equips students to thrive as an emerging professional within the regional, national, and international scenes of art, design, and writing.

It includes a foreword by Serpentine Galleries CEO, Yana Peel and Artistic Director, Hans Ulrich Obrist; as well as two newly commissioned texts: Alex Kitnick has contributed an essay that draws links between the sites of production and exhibition of Guyton's work; and Flame have written about the modes of temporality within Guyton's practice.

Thursday, November 17 7 pm 192 Books New York, NY The conversation will explore Donald Judd's writing as a process and primary part of his daily life and artistic practice.

The exhibition's itinerary — debuting in West Texas and traveling to Europe before completing its tour in Houston — reflects Hubbard / Birchler's transatlantic artistic trajectory, which has proved critical to the evolution of their practice, as Schmuckli writes in the exhibition catalog.

Some of the issues to be expanded upon are: research as artistic production; the problematic question of agency within co-production; professionalization versus the instinctual amateur; writing as curatorial practice; the exhibition as a form of research action; expanded notions of the curatorial and the role of research models and methodologies within these; art writing as a curatorial form, and the distinction between research into curatorial practice / exhibition histories and the curatorial as in itself a mode of research practice.

The event will examine how art and writing institute a notion of territorial place — making, permanence, and action, as it explores writing as an extension of an artistic practice, as well as an element of practice itself.

Jon Plum held a writing workshop to explore how written language itself can be used as a medium in artistic practice.

In his artistic practice, he used such different languages as sculpture, drawing, writing, collage, assemblage, installation and video.

In his artistic practice, he used such diverse languages as sculpture, drawing, writing, collage, assemblage, installation, and video, integrating themes that reveal his character as a researcher and activist: the aesthetic investigation of language; the questioning of the Western world, power, and the rules that dictate the values of religion, art, justice, and the state; the reverence for women and eroticism; and the depiction of violence.

Because, even if it is true that — as Merz wrote — artistic practice is rife with silence (the silence of drawing / like the silence of the meadow / the silence of a flower), the impressions we have when visiting the show have a prominent auditory quality.

This reading and arts immersion will guide students to write eloquently, confidently, and with an abundance of passion for their own artistic practice, as well as that of others.

The conversation will explore Donald Judd's writing as a process and primary part of his daily life and artistic practice.

Reflecting on his work, Álvaro Gil writes: «Most part of my artistic practice and research focuses on constructions based in the concept of customization and in superficial transformations made to size, taking bricolage and DIY (Do it Yourself) as an attitude».

Any number of people contribute (most posts carry an alt - code text symbol that acts as a contributor's signature, linking to their personal sites), but Troemel is one of the most vocal participants about the project, and writes and speaks regularly on the internet and its influence on artistic practice.

She also began writing as a form of 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.

David Rubin's (no familial relation) take on contemporary art which I have followed for decades (lectures, writing, curating, as well as his own artistic practice) is simply awesome.

Chicago's feminist work, writing, teaching and artistic practice has elevated women and their voices in the arts, and culturally as well.

In addition to ongoing publishing and writing projects, since 1990 he has maintained an artistic practice employing the camera obscura as a means to develop site - specific installations, most recently at Wave Hill (Bronx, New York) and Evergreen House (Johns Hopkins University).

Siskind began his artistic career as a documentary photographer, but around 1944, he focused on the «practice of photography as art, away from illustration and representation,» as he wrote in an application for a Guggenheim grant in 1956.