Sentences with phrase «addresses contemporary visual»

The Creative Capital Andy Warhol Foundation Arts Writers Grant supports writers whose work addresses contemporary visual art.

Creative Capital / Warhol Foundation Arts Writers Grant Program: call for applicants Application Deadline: Wednesday, June 6th, 2012 The Creative Capital Warhol Foundation Arts Writers Grant Program supports individual writers whose work addresses contemporary visual art through grants in the following... Continue reading →

Arts Writers Grant Program The Creative Capital supports writers whose work addresses contemporary visual art through project - based grants issued directly to individual authors.

an artist whose proposed project does not directly address contemporary visual art (a piece of writing by an artist does not automatically qualify as «arts writing» in this context);

Not exact matches

This symposium will address these themes and concerns in Golub's art and seek to raise questions about the role and effectivity of the contemporary visual arts in investigating and reflecting upon the intersections of the aesthetic and the political.

Darren Walker, president of the Ford Foundation, a historic and contemporary source of visual art funding, gave the commencement address at Oberlin College.

Her role will also consist in devising and leading innovative curatorial projects which investigate how museums and collections can work collaboratively with contemporary artists to address diverse audiences for visual art in Britain.

Engaging a constant interplay with the contemporary cultural climate, Michael St. John's work continues to recalibrate and address a growing circuit of visual information.

The Biennial will showcase more than 40 contemporary Arab artists using photography and related visual media to address a broad range of aesthetic and cultural values impacting Arab culture.

It is a given in contemporary visual culture that photography and our relationship to it exist in a constant state of flux, and so I was drawn to work that, in one way or another, addresses how the medium does and does not function, right now.

RELATED ARTS ACTIVITIES Co-Organizer, Onaman Collective (2014 — present) Project Creator / Lead Coordinator, Walking With Our Sisters Touring Exhibit (2012 on - going to 2020) Keynote Address, Indigenous Artists» Symposium: Activism & Education Through the Arts by Sâkêwêwak and the First Nations University of Canada Plains Red Gallery, Regina, SK (Feb 2016) Keynote Address, Education Through Reconciliation Through Education by First Nations, Métis, & Inuit Education Association of Ontario, Brampton, ON (May 2016) Collaboration with The House of Valentino, Milan, Italy (2015) Designer, 2015 Pan Am Parapan Am Game Medals Guest Lecturer, Shingwauk Ginoomagegamig, Algoma University, Sault Ste. Marie, ON (2014) Guest Lecturer, Museum of Contemporary Native Arts & Institute of American Indian Arts, Sante Fe, NM (2013) Lead Organizer, Community Art Collaborative Piece, Seventh Generation Midwives, Toronto, ON (2012) Jury Member, Ontario Arts Council, Aboriginal Arts Awards, Toronto, Ontario (2012) Jury Member, Ontario Arts Council, Visual Arts / Established Artist Program, Toronto, Ontario (2011) Guest Lecturer, Snelgrove Gallery, University of Saskatchewan, Arts Department, Saskatoon, Saskatchewan (2010) Guest Exhibit / Presenter, New Sun Symposium, Ottawa, Ontario (2010) Jury Member, Ontario Arts Council, Northern Arts Program, Toronto, Ontario (2009) Project Creator, Artistic Co-Director & Jury Member, Willisville Mountain Project, Willisville, Ontario (2008) Jury Member, Ontario Arts Council, Visual Arts Program, Toronto, Ontario (2008) Jury Member, Canada Council for the Arts, Aboriginal Peoples Collaborative Exchange Program, Ottawa, Ontario (2008) Jury Member, Ontario Arts Council, Chalmers Awards, Toronto, Ontario (2006)

The Presidential Library Project: Black Presidential Imaginary addresses the long history of representations of a black president of the United States in visual culture, both comedic and aspirational, through contemporary art installation and institutional archives.

A special panel discussion addressing the Wrestle exhibition takes place during the inauguration of the Hessel Museum, and includes curators Tom Eccles and Trevor Smith, as well as invited guests Arthur Danto, Johnsonian Professor Emeritus, Philosophy, Columbia University; Vasif Kortun, Director, Platform Garanti Contemporary Art Center, Istanbul; Ute Meta Bauer, Director and Associate Professor MIT, Visual Arts; and Molly Nesbit, Professor of Art, Vassar College.

In New York, there was last year's New Museum Triennial, «Surround Audience,» whose participants addressed «a society replete with impressions of life, be they visual, written, or constructed through data,» and «Ocean of Images,» the 2015 iteration of MoMA's «New Photography» showcase, featuring artists who use «contemporary photo - based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models.»

Sarah Charlesworth (1947 - 2013) is a visual artist and photographer whose work addresses the language of photography in contemporary culture.

While Kim incorporates the visual language of color and abstraction, he also addresses cultural and personal issues, positioning himself closely with many of his contemporaries, including Glenn Ligon and Felix Gonzalez - Torres.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

His works allude to iconic works from the history of modernity, while addressing questions ranging from the jolts of contemporary society and the fall of utopias to the impact of new technologies on our visual culture, by way of the fetishization of cartoons and the relationship of civil society to different forms of power.

This research project addressed the interpretation and understanding of internationalism in contemporary visual arts in Europe.

1988 Group Show, Marian Goodman Gallery, New York, US Broken Music - Artists» Recordings, DAAD Galerie, Berlin, DE Saga 88, Eric Linard Editions, Grand Palais, Paris, FR Gordon Matta - Clark and Friends, Galerie Lelong, New York, US Forum, Hamburg Art Fair, Hamburg, DE A Bid for Human Rights, Brendon Walter Gallery, Santa Monica, California, US Art in Bookform / Book in Artform, Presented by Zona Archives at ACRL / Weiss Conference, Firenze, IT As Far as the Eye Can See, Marian Goodman Gallery, New York, US Delfryd Celf in London, Victoria Miro Gallery, London, UK Der Hund in Mir / The Dog Within, Galerie Hubert Winter, Vienna, AT Collection du Musee Van Abbe d'Eindhoven, premiere partie, Musee des Beaux Arts de Nimes, Nimes, FR Amsterdam Koopt Kunst, Museum Fodor, Amsterdam, NL Modes of Address: Language in Art Since 1960, Whitney Museum (downtown), New York, US The Turning Point - Art and Politics in 1968, Cleveland Center for Contemporary Art, Cleveland, Ohio, US; Lehman College Art Gallery, Bronx, New York, US Collection du Musee Van Abbe d'Eindhoven, Deuxieme Partie, Musee des Beaux Arts de Nimes, Nimes, FR Le Marche comme Objet, Picard Surgeles, Paris, FR Art Conceptuel I, Musée d'art contemporain, Bordeaux, FR From the Collection of Dorothy and Herbert Vogel, Arnot Art Museum, Chicago, Illinois, US Skulpturen Republik, Kunstraum Wien, Vienna, AT; John Hansard Gallery, The University of Southhampton, Southhampton, US; Third Eye Centre, Glasgow, UK Ships Sail at Night: Art and the Image of Sea, Maritime Museum, Rotterdam, NL Concept Art, Stalke Galleri, Copenhagen, DK; Brigitte March Galerie, Stuttgart, DE; L'Espace des Arts, Chalon sur Saone, FR Balkon mit Facher - 25 Jahre Berliner Kunstlerprogramme des DAAD, Akademie der Kunste, Berlin, DE Symmetry» 88, International Etalageproject, Middelburg, NL Tellus # 22 (Audio Visual Issue II), Audio Cassette magazine, New York, US

Ashton Cooper uses Katrina Andry's latest exhibition at Staple Goods as a lens to explore how street harassment is being addressed in contemporary art and visual culture.

One of the questions this series would like to address is the character of analysis and investigation by contemporary visual artists into the cinematographic medium and its context, the cinema setting.

Curated by Jananne Al - Ani, David A. Bailey, Zineb Sedira and Gilane Tawadros, this is the first project to address the question of the veil from the vantage point of contemporary visual art practice.

Veil spans the spectrum of contemporary visual arts practices, with an emphasis on lens - based work; on one level, the project is an exploration of the roles of photography, film and video as contemporary tools for addressing notions of the veil.

Currently a Ph.D. student at Emory University's Institute of Liberal Arts, Pecou is a visual artist who works to combine observations on hip - hop, fine art and popular culture, addressing concerns regarding the contemporary representation of black masculinity.

Addressing personal af liations with Northern England is inherent, by carefully highlighting the use of domestic objects and use of materials, Kenny transforms them into objects of high esteem, focussing on shared visual memories and aesthetics of aspiration, something of which Kenny feels is lacking in contemporary art.

CAARP is a partnership of three organizations, Collective SML k, RedLine Contemporary Art Center and Asian Art Coordinating Council to support visual practices that address underrepresented issues, narratives, and techniques, as well as bringing forward current and exciting art from Asian and Asian American communities.