Sentences with phrase «about contemporary art not»

In addition to this, the museum offers various community programs about contemporary art not associated with one of their exhibitions on display.

While gazing at Rauschenberg's painting Double Feature, Tomkins felt compelled to make some kind of literal connection to the work, and it is in that sprit that «for the last forty years it's been [his] ambition to write about contemporary art not as a critic or a judge, but as a participant.»

Not exact matches

About two dozen artists, gallery owners and officials wrote an open letter Monday urging the city of Paris not to install the 12 - metre - tall «Bouquet of Tulips» outside the Museum of Modern Art and adjacent Palais de Tokyo, a contemporary art centArt and adjacent Palais de Tokyo, a contemporary art centart centre.

This is a deeply disturbing story about loss of identity, which draws together the less attractive side of eco-awareness and contemporary fears about designer drug research, in a setting of art research and deception, the history of the Hapsburgs, and what might or might not be dark magic.

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftContemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftcontemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

Don't Talk to Me About Love, a new online literary journal, is encouraging readers, writers, and artists to do quite the opposite — «to explore contemporary ideas about love in all its myriad expressions (romantic and platonic), in prose, poetry, and visual art.&rAbout Love, a new online literary journal, is encouraging readers, writers, and artists to do quite the opposite — «to explore contemporary ideas about love in all its myriad expressions (romantic and platonic), in prose, poetry, and visual art.&rabout love in all its myriad expressions (romantic and platonic), in prose, poetry, and visual art.»

5 Storr, whose essay is full of perceptive comments about Drexler's work (as when he notes how the «vernacular» quality of her colors evokes «sideshow signage») is certainly correct in making the connection between Drexler and her abstract contemporaries, but we shouldn't let the existence of such strong affinities (whether with Pop or with abstract styles) distract us from the distinctive qualities of Drexler's art, especially when it comes to materials and process.

2017 Abstract / Not Abstract, Moore Building, Miami, FL The Trick Brain, Curated by Massimiliano Gioni, Aishti Foundation, Beirut, Lebanon Trip of the Tongue, Simon Lee Gallery, Hong Kong, China Living Apart Together: Recent Acquisitions from the Hammer Contemporary Collection, Hammer Museum, Los Angeles, CA Horror Vacui, or The Annihilation of Space, Misako & Rosen, Tokyo, Japan Whitney Biennial 2017, Whitney Museum of American Art, New York, NY Third Space / Shifting Conversations About Contemporary Art, Birmingham Museum of Art, Birmingham, AL

As Jeffrey Deitch, the erstwhile director of Los Angeles» Museum of Contemporary Art (MOCA), put it, Bradford's work isn't «art about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquArt (MOCA), put it, Bradford's work isn't «art about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart about life... He brings the daily struggles of people left behind by the American economy into his paintings».

You know, I love dance and the intersection of dance and contemporary art, but sometimes I'm a little bit skeptical about the dance - art interplay, and to be honest the language of dance is not a language that artists necessarily know how to manipulate.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

MS: This is a question I find tough to answer, but it makes me think about what the conceptual artist Liam Gillick once said: «Contemporary art does not account for that which is taking place.»

We know that any contemporary art exhibition entitled «The Ascent of Man» is not really going to be about the ascent of man, not in any classical sense, and in fact, we know that it will most likely be a critique of such a concept.

2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, AL We Wanted a Revolution: Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute of Contemporary Art, Boston, MA Magnetic Fields: Conversations in Abstraction by Black Women Artists 1960 - Present, Kemper Museum of Contemporary Art, Kansas City, MO; National Museum of Women in the Arts, Washington, DC; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY

In the Poem about Love you Don't Write the Word Love, Centre for Contemporary Arts, Glasgow, Scotland

Wednesday, Hercules Art Studio Program is opening a show about painting and the body that couldn't feel more relevant to contemporary discourse.

The star of Mike Leigh's biopic about JMW Turner tells Catherine Shoard about his own artistic endeavours, while Leigh explains why Turner was both respected and reviled by his contemporaries and Spall's co-star - Marion Bailey - wonders if the art of creativity isn't a little over-rated.

So, it's not only about German contemporary art, but these measures could affect international art market in general.

This tells us a great deal about the price of contemporary art, but it also raises questions about value in cases where an aesthetic difference can not be discerned.

You don't need to be an art insider to hear the term «Abstract Expressionists» used to describe the inspiration behind all manner of contemporary painting, but what was the original movement all about?

Explaining, «art's about life and it can't really be about anything else... there isn't anything else,» Hirst's work investigates and challenges contemporary belief systems, and dissects the tensions and uncertainties at the heart of human experience.

(2014); Bill T. Jones / Arnie Zane Dance Company 30th Anniversary Exhibition (2013); Dissident Futures (2013); Migrating Identities (2013); and Audience as Subject (2010/2012); Song Dong: Dad and Mom, Don't Worry About Us, We Are All Well (2011); The Matter Within: New Contemporary Art of India (2011); and Nayland Blake: Free!Love!Tool!Box!

2008 30 Americans, Rubell Family Collection, Miami, FL Prospect.1 New Orleans, New Orleans, LA THE PROGRAM, Video Association of Dallas at Conduit Gallery, Dallas, TX Disguise: The Art of Attracting and Deflecting Attention, Michael Stevenson Gallery, Cape Town, South Africa Whatever is Whatever, Hydra School Project, Hydra Greece Summer Mixtape, Exit Art, New York, NY Bedtime Stories, The Red House, Syracuse, NY Is You Is or Is You Ain't, Indianapolis Museum of Contemporary Art, Indianapolis, IN Glasgow International: Festival of Contemporary Visual Art, Glasgow, Scotland Air Kissing: An Exhibition of Contemporary Art about the Art World, Arcadia University Art Gallery, Glenside, PA Laughing in A Foreign Language, The Hayward Gallery, Southbank Centre, London, UK

Cathcart, Linda L, The Americans: The Collage, catalogue, Contemporary Arts Museum, Houston Kalil, Susie, «Americans: The Collage, Review,» Houston Post, 18 July, section AA, pp. 1 & 16 Johnson, Patricia C, «Amusements: Art: American Collages spotlighted in stunning don't miss CAM exhibit,» Houston Chronicle, 21 July, section 6, p. 6 Knaff, Deborah L, «Collage captures current whimsy,» Rice Thresher (Rice University, Houston), 20 August, p. 7 Kalil, Susie, «American Collage since 1950,» Artweek (Oakland, California), 18 September, volume 13, no. 30, p. 1 Rose, Barbara, «Talking about Art: Photos from a Cold Climate: more artworks by Scandinavians: collages made in U.S.A.,» Vogue (New York), October, volume 57, no. 10, p. 135

Because I didn't know about the Negro Art Guild and my background is in modern and contemporary African American art, I guess it's all the ephemera from those exhibitioArt Guild and my background is in modern and contemporary African American art, I guess it's all the ephemera from those exhibitioart, I guess it's all the ephemera from those exhibitions.

Either it is «preaching to the choir» or everyone that goes to contemporary fine arts museums are so privileged they don't even think about their housing.

In addition to the exhibition, the UAG will also present multiple programming events to include: «Q&A with the Artist: A Conversation with Wendy Red Star and Michelle Lanteri» on January 25, 2018, in the NMSU HSS Auditorium 101 at 6:00 pm; a screening of Rumble: The Indians Who Rocked the World, a feature documentary about Native American peoples» contributions to rock «n» roll history, on February 15, 2018, in the NMSU CMI Theatre at 5:30 pm; and «Considering Contemporary Art,» a panel featuring Julie Sasse, Chief Curator of Modern, Contemporary, and Latin American Art, Tucson Museum of Art; Nadiah Rivera Fellah, Guest Curator, Newark Museum and Art History PhD Candidate, CUNY Graduate Center; and Michelle J. Lanteri on March 8, 2018, in the University Art Gallery at 5:30 pm.

The bottom line is that it's not about black artists — though I would never deny that that's an interest of mine — but it's about how to broaden the discussion of things that really define contemporary art practice.

Jori Finkel of The New York Times was quick to note: «As chief curator of the Museum of Contemporary Art in Los Angeles for the last three years, Helen Molesworth has been a fierce advocate for artists who did not fit neatly into the white - male - blue - chip art world,» something that could have been said about Raicovich and Rodríguez each in their own wArt in Los Angeles for the last three years, Helen Molesworth has been a fierce advocate for artists who did not fit neatly into the white - male - blue - chip art world,» something that could have been said about Raicovich and Rodríguez each in their own wart world,» something that could have been said about Raicovich and Rodríguez each in their own way.

It seems improbable now that a work of contemporary art — particularly one that was, lest we forget, an impression of something which no longer existed — could inspire such a polarised and universally zealous reaction, but as Whiteread explains, «people are always going to have strong opinions about something that hasn't happened before» and, unlike now, art «was not constantly in your face».

One of the more thought - provoking pieces of art writing this month was not about contemporary work, but modern art.

Song Dong: Dad and Mum, Don't Worry About Us, We Are All Well, 4A Centre for Contemporary Asian Art, Sydney, January 5 — March 30, 2013.

But it is not our task to define Contemporary Art, what interests us more is how to go about collecting it and appreciate it.

Dad and Mum, Don't Worry About Us, We are All Well, a survey of Song Dong's work from the last three decades is on view at 4A Centre for Contemporary Asian Art.

He grew up in a city there wasn't a lot of contemporary art, but after seeing documentaries about Jackson Pollock and Basquiat he became promptly interested in researching with a help from Internet.

4A Centre for Contemporary Asian Art: Dad and Mum, Don't Worry About Us, We are All Well on view through March 30, 2013

No, it's the fresh spray of spittle from the mouths of newspaper critics bloviating about how contemporary art isn't relevant enough to the lives of 60 - something men!

In the early days one of the aims was to increase the quality of discussion about contemporary art and I think it has — it's not so simplistic any more.

People feel they might not know anything about contemporary art, but they can walk in.

«if I can't dance to it, it's not my revolution,» Cantor Fitzgerald Gallery, Haverford College, Haverford, PA, March 21 — May 2, 2014; catalogue «Stars: Contemporary Prints by Derrière L'Étoile Studio (Part Three),» Zimmerli Art Museum, Rutgers University, New Brunswick, NJ, March 8 - July 31, 2014 «Pretty Vacant: The Graphic Language of Punk,» Galleries at Moore College of Art and Design, Philadelphia, PA, January 25 — March 15, 2014 «Non Sequitur: Formal and Narrative Abstraction in Contemporary Sequential Art,» curated by Tom Hart, Jeff Owens, and Chase Westfall, Gallery Protocol, Gainesville, FL, February 26 — March 26, 2014 «Reliable Tension — Re: JJ or: How to Win a Conversation About Jasper Johns,» curated by John Pilson, 36 Edgewood Gallery, Yale School of Art, New Haven, CT, February 17 — March 28, 2014

Now talking about your early works, not many people know that your M.A dissertation, entitled: «Tasting the Manna», was on the nature of Contemporary Arts, primarily of the West.

AW: One curiosity about contemporary art is that there is a terrific interest in the old languages and devices of painting, but generally in the work of photographers and film - makers — or artists using photography and film — but contemporary painting itself sometimes looks back to the history and sometimes doesn't.

Initially collecting artworks by Latin American artists, Haudenschild fell in love with contemporary Chinese art at first sight, even though she did not know much about Chinese culture and history.

About the ICA The Institute of Contemporary Arts (ICA) is a not - for - profit, multi-disciplinary arts centre established in 1947 by a collective of artists, poets and writers to showcase and champion contemporary culture across the broadest range oContemporary Arts (ICA) is a not - for - profit, multi-disciplinary arts centre established in 1947 by a collective of artists, poets and writers to showcase and champion contemporary culture across the broadest range of art foArts (ICA) is a not - for - profit, multi-disciplinary arts centre established in 1947 by a collective of artists, poets and writers to showcase and champion contemporary culture across the broadest range of art foarts centre established in 1947 by a collective of artists, poets and writers to showcase and champion contemporary culture across the broadest range ocontemporary culture across the broadest range of art forms.

Those works — along with many others, like the 1969 photographs Minter took of her alcoholic and pill - addicted mother, or I'm Not Much But I'm All I Think About, a 2011 video in which the letters M and E, along with a pair of silver M&M's, are repeatedly dropped into an oozing mixture of vodka and silver food coloring — are currently on view at the Brooklyn Museum, in «Marilyn Minter: Pretty / Dirty,» a retrospective that originated at the Contemporary Arts Museum Houston.

At the same time, he's a generous artist; there's something in his work that people who are not always knowledgeable about contemporary art can sink their teeth into.

The galleries — there wasn't the number of galleries we have today — and if you happened to be concerned at all about the contemporary movements in art at the time, which then, of course, were Cubism and so on, why there was absolutely no place to show your work.

But I don't even want to talk about things like Jay Z's performance at the Pace Gallery; if you are only able to namedrop artists like Picasso in your lyrics you are not worthy to collaborate with the contemporary art world.

«They weren't afraid to talk about the issues and realities of life as a contemporary Indigenous person through their art.

Gwen Chanzit, the museum's curator of modern and contemporary art, didn't set out to produce an all - women show: «I wanted to broaden the parameters of what we know about abstract expressionism — and destroy some myths,» she tells Maclean's.