Sentences with phrase «about traditional artists»

• For more about traditional artists in Ireland like Maurice MacGonigal, see: Irish Art Guide.

Not exact matches

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In the film's stronger moments, the artist in her definitely seems to be saying that the impulse to retreat into cultural fundamentalism carries dire risks, that much of what is old and traditional needs changing and there are some things about the detested process of globalization that are wonderfully liberating.

Since the film is not a biopic in any traditional sense, you never feel like you are being lectured about the importance of an artist's output — instead, Matuszyński and screenwriter Robert Bolesto (of «The Lure» fame) pull you into Beksiński's unconventional household and allow you to grow accustomed to its inner rhythms.

Sharp told a story about a concept illustrator for Lucasfilm who had no background in comic books using the motion - book tools to create something that a traditional comics artist wouldn't ever have considered.

Frank Hobbs posts Mercedes Matter's 1973 remarks about learning to be an artist, wherein she answers the question: «is there any use for a young artist... to study the traditional disciplines?»

In an epoch when older painters tended to work for forty years exploring the same image, Wool blew willy - nilly through different images, often concurrently, challenging traditional notions about artist identity and branding and paint handling as well as the Modernist notion of progress.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

The exhibition features the artist's bold and experimental work challenging traditional assumptions about figuration and abstraction, and works that reveal her interest in how paintings function in a given room.

Ice fishing is also, along with traditional river fishing, Brooklyn - based artist Charles Harlan's hobby, and so a link, or rather a way of approaching apparently minimal practices, comes roughly into focus: a process of thinking about «work», and what is worked with.

Could you talk about your association with Neel's work that exceeds the traditional a dialogue between artist and curator?

Forgoing the traditional narrative, these artists use their own visual language to convey a universal uneasiness about the future.

It is about traditional gender roles in our society, and demonstrates how women artists have challenged and revised our ideas about women, home and hearth.

Touch is a painting about a woman's sexual desire, rather than a man's, and the artist unsettles the traditional gender power structures by placing the woman's leg over the man's torso.

The National Museum of Women in the Arts will gather 36 contemporary artists who, inspired by Womanhouse, once again challenge traditional ideas and stereotypes about domesticity and gender, some 46 years later.

«All the artists work with colour, they work with traditional media and at the same time it is all very thoughtful work, really thinking about what it means to be a citizen in the UK,» she said.

In her reimagined renderings, the artist replaces the European subjects with powerful and glamorous African American women, inviting questions about conventional beauty, racial identity, and the traditional art historical narrative.

A response to the expansion of the art market and the erosion of the traditional gallery system, the fair fosters a conversation about alternative ways to engage and support emerging artists.

Significantly, Hammons insisted that L&M break with convention by issuing no press release, but the works themselves spoke eloquently enough about how an artist need neither to renounce nor adhere to any aspect of his tradition (including the by - now - traditional rejection of tradition) in order for «outrageously magical things» to happen.

The artists in this invitational group exhibition examine the genres of traditional maritime and marine art using ship portraiture, seascapes, novels, folklore and ancient myths about the sea as inspiration.

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

More of a guided conversation in the galleries than a traditional lecture, our interactive tours are full of surprising stories about artists, and fun facts about the museum and works on view.

The gallery with an installation by the Mozambique - born artist Ângela Ferreira, who looks at the influence of modernism in Africa, in a documentary spirit, «and is about as far from a traditional Marlborough artist as you could get,» Renton says.

The Figure, McCann comments, «responds to David Hockney's «Secret Knowledge» to some degree — several artists... openly describe how they use traditional as well as modern techniques like photography, Photoshop, or 3D computer programs... The New York Academy of Art asked me to project - manage a book Rizzoli was interested in doing about the school.

it's slightly different I would say because a lot of these artists are Nisei so they're raised in these traditional Japanese households, and they're learning about tea ceremony and calligraphy

There's nothing traditional about Brooklyn based artist Erin M. Riley's woven tapestries.

In the exhibition we want to show the artists views on what romance looks like to them, what they think about traditional forms and new possibilities of being romantic, where they (don't) see romance and if they either have a emotional or rational way of dealing with it.

But Kounellis» work is not about the artifice of traditional painting; rather, its strict formality is railing against the prevailing gestures, drip and daub tendencies of Abstract Expressionism and Art Informel where the action, emotion, material, touch and will of the artist is inextricably interwoven within both the medium and the form.

According to Graffuturism, there was an obvious gap in how the media had covered the art form: one side being about the new street art, and the other about traditional graffiti coverage, but no middle ground or coverage of graffiti artists who had pushed forward to explore progressive hybrid directions, or about the newer street artists who worked more like graffiti artists.

These restrictions significantly impacted the writing of history during this time and led to an erasure of or a kind of amnesia about artists working outside of officially sanctioned (read traditional) practices.

The most lively evocation of the links between old and new will be in the talks programme, where Nicholas Penny, the director of the National Gallery, will lead by talking to artist Cecily Brown about her reinterpretations of traditional imagery.

Among the highlights will be the social practice artist Theaster Gates singing his own rendition of «God Bless America,» «The Battle Hymn of the Republic» and other traditional patriotic tunes; the filmmaker Arthur Jafa presenting his lauded short movie about racism, «Love Is the Message, the Message Is Death»; the artist Shirin Neshat showing films about violence against women; the composer David Lang performing and also speaking about «danger and honesty in both pop and classical music»; the poet Elizabeth Alexander reading her own work; and the artist Hank Willis Thomas presenting and discussing his film «A Person Is More Important Than Anything Else» (2014) on James Baldwin.

Out of the many mediums across which he works, Andrew Wilson has chosen two traditional forms for a work about the unsung softness and denied potential of black men in America: black and white photography and an artist book.

The establishment of elephant art academies in Thailand and India have provided a forum for the cynical New York artists to mock the mainstream art industry by challenging traditional notions about gifted artists and natural abilities.

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.

The exhibition came as a result of a study trip a group of six Milwaukee artists made to South Korea last year to learn about hanji, the traditional Korean craft of making and manipulating paper.

Working with artists including Carrie Mae Weems and Zoë Buckman to produce politically minded and mass - distributed campaign material, For Freedoms hopes to spark a nuanced conversation about this country's politics, one that can exist beyond the traditional partisan divide.

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.

Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship with the viewers.

Duchamp's ready - mades — found objects that he exhibited as art — defied all traditional notions of art: they were not beautiful, they did not express anything personal about the artist, they were not original or unique objects, they had not been crafted by the artist.

For other important Irish sculptors, read about the neo-classical John Hogan, the Anglo - Irish John Henry Foley, the Romantic Nationalist Oliver Sheppard, the nationalist realist Albert Power, the small - scale sculptress Rosamund Praeger, the traditional stone sculptor Seamus Murphy, the Polish - Irish sculptress Alexandra Wejchert, the contemporary steel sculptor Conor Fallon, the bird artist Oisin Kelly, the public artist Eamonn O'Doherty and the figurative sculptor Rowan Gillespie.

He has taken a radically sceptical view of traditional ideas about art and artists: in the light of modern scientific advances and modern techniques, he claims that the value of art should lie not in the rarity of an individual work, but in the rarity and originality of its meaning - which should be reproducible.

This interview doesn't follow much of a traditional question and answer format, because Alan and I skipped around during my visit to his studio in late January, focusing more on individual paintings and drawings, his time in Rome and Brooklyn, and his tales about meeting the artists Louise Bourgeois and R.B. Kitaj.

Gathering together artists working across the United States and around the globe, this exhibition breaks down preconceptions about glass art, shattering traditional boundaries for sculpture as well.

Artists have also spoken out about the unfair treatment they perceive in bringing their music to streaming service models, which slice up traditional whole album and digital download sales to fractions.

Algeria About Blog Ameur Makhloufi is an self taught artist digital and traditional art maker.

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