Sentences with phrase «aesthetic practices from»

This significant new work synthesizes Uklański's ongoing interest in craft and aesthetic practices from the fringes of Modernism, while also suggesting Feminist forms and the seminal role of visual pleasure.

Not exact matches

Robert Stern, the renowned architect and Dean of the Yale School of Architecture, acquired the present work in 1968 and has long admired it, not only for its formal and aesthetic qualities but also for the revolutionary nature of Judd's practice, «From the minute I saw the work, I knew of its importance.

It also covers aesthetic forms and genres, from conceptual to formalist, abstract to figurative practices.

Utilizing a collage aesthetic, her artistic practice draws attention to the way various built environments, ranging from architectural to consumer - oriented constructions, relate to desire and aspiration.

Definitely not a retrospective, this show unveils the latest stage in Shapiro's aesthetic practice that spans five decades by exhibiting the commissioned installation along with five of permanent collection pieces and one borrowed from the collection of Nancy Nasher and David Haemisegger, the amazing 20 Elements, 2004 - 2005.

The exhibition takes its inspiration in part from the 1985 New Zealand post-apocalyptic film of the same name, and serves as an abstract documentation of the ways that humans have responded to the ecological crises of climate change with scientifically informed aesthetic practices.

She uses her youth to her advantage, likening Frank Stella's work from the 1970s to the «Photoshop aesthetic» in contemporary practices — a connection older critics may not make.

His work can be seen in the files of Museo del Barrio, N.Y.; Drawing Center, N.Y.; the flat files at Pierogi 2000, Brooklyn N.Y.; and Heskin Contemporary, N.Y. Currently he co-manages «Rumpelstiltskin,» an exhibition art space for aesthetic research in south west Guadalajara, Mexico, where he has curated Paranormal Bureu, a multimedia show with three artists from Brooklyn N.Y. My unorthodox practice links me to a generation of artists with a very wide range of approaches to art, that question the interest of the establishment particularly in museums and commercial venues.

The exhibition tells a familiar story of aesthetic progress — from naturalism to abstraction to a plurality of contemporary art practices across media — but gives pride of place to the work of women and people of color.

His work has a highly refined aesthetic that is often informed by his magpie like approach to influences from film, music, literature and philosophy, which shape and colour his practice.

The aesthetic practice of Cirio suggests peaceful methodologies of re-appropriation of civic forms of shared participation and civility that may still be possible to salvage from what Adorno defined as the «age of total neutralization» within which Cirio, as an artist, does not seek false and easy reconciliations.

His decision to embrace sobriety, as well as the decision to be very particular about what influences his practice, gives his latest work new direction detaching it from the brand or aesthetic he has built up through skateboarding, and giving it a maturity that might not be expected from an artist so young.

And while these artists» practices are formally linked by their «challeng [ing] the notion of the canvas as a flat surface,» the exhibition's strongest assertion is that there is no singular Puerto Rican aesthetic — a still important point of resistance within a long lineage of Eurocentric museums» limiting our collective understanding of «non-Western art» by naming it as something distinct («primitive,» «craft,» «artifact») from the trajectory of art history otherwise taught in schools.

Several artists in the exhibition reject traditional categories of painting and sculpture to explore new modes of art making which result in a plethora of unprecedented aesthetic and critical practices, ranging from industrially produced geometric abstractions, negating the hand of the artist, to text - based investigations.

Framing surveillance as an aesthetic practice, Special Works School hones in on its psychic, material, and embodied dimensions, working from the positions of both surveillor and surveilled.

Her aesthetic practice can be seen as rippling outward from the land itself.

Performative, Poetic, Powerful Examining the various aesthetic and conceptual turns that typify César's practice, the show at Luxembourg & Dayan will present historically significant examples from his Compression, Human Imprint, and Expansion series, as well as such early figurative works as the Venus - like welded iron sculpture Torso (1954), on loan from the permanent collection of The Museum of Modern Art.

From Yves Klein's utopian plans for an «architecture of air» to Robert Barry's Energy Field (AM 130 KHz) from 1968 - which encourages a heightened awareness of the physical context of the gallery - this exhibition span diverse aesthetic practices and conceFrom Yves Klein's utopian plans for an «architecture of air» to Robert Barry's Energy Field (AM 130 KHz) from 1968 - which encourages a heightened awareness of the physical context of the gallery - this exhibition span diverse aesthetic practices and concefrom 1968 - which encourages a heightened awareness of the physical context of the gallery - this exhibition span diverse aesthetic practices and concerns.

Kelley's aesthetic mines the rich and often overlooked history of vernacular art in America, and his practice borrows heavily from the confrontational, politically conscious, «by all means necessary» attitude of punk music.

When initially conceiving of this exhibition, we wanted to highlight the expanded field of contemporary fiber practices, where the influence of the of the textile can be seen in a number of ways, from the structure or aesthetic, to the historical and cultural traditions employed in the works.

Nevertheless, the immense impact of such viewing from a distance and across borders on the shaping of aesthetic and political values that underpin contemporary artistic practice in a global arena comes into sharper relief.

Michael Riedel lives and works in Frankfurt, and his artistic practice incorporates painting, text, audio, video, photography, publishing, architecture and performance to engage with the aesthetic possibilities derived from the basic principles of recording, labeling and playback.

Significantly, artists were addressing these issues by reworking and subverting a range of art - historical references and aesthetic strategies, from William Morris to Pop Art, documentary practices and the introduction of Third Cinema to the UK.

In addition to formal and aesthetic criteria, when I develop curatorial concepts I am particularly interested in current issues that are relevant to art - historical discourses and artistic practice, and are also generated from within them.

From the beginning, he insisted on informing and defining his practice based his experience and knowledge, refusing to «align his work with the prevailing aesthetic.»

He graduated in Fine Art of Sculpture at the Jingdezhen Ceramics Institute in 1989, and from this strong foundation started his own experimental practices leaning towards a more conceptual aesthetic.

During the sixty - one years of the existence of the American Abstract Artists group, abstract art has evolved from a foray into largely unexplored imaginary territory into a mainstream modal of aesthetic practice.

Bringing together early works from the 1950s to 1970s by Enrico Castellani, Donald Judd, and Frank Stella, and then juxtaposing them against later works by the same artists, the exhibition highlights not only the evolution of each practice, but also the way their aesthetic similarities.

In a discussion that looks at critical art practices from the late sixties and early seventies, Dyment situates the work of Woodeson, Haegele and Ashmore as a contemporary re-examination of issues and the aesthetic of early minimal and conceptual art practices, but one that is, instead, less confrontational and is imbued with a welcoming invitation and sense of play.

The works on view explore visual and cultural framing practices to re-contextualize European, African, and American aesthetic and cultural movements from Minimalism and Dada to Black Lives Matter.

Support for this program is provided by the Amphion Foundation and the Institute for Interdisciplinary Innovation (I ³), a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.

Discussing his work with artist Sam Durant at the Hammer earlier this month, Gaines explained that his practice is a struggle against «art as a subjective practice,» and that he seeks to avoid aesthetic decision - making because it privileges «the idea of beauty or pleasure as emerging from the site of the self or the ego.»

Through the presentation of 45 works on paper from private collections, including calligraphy, gouache, oil and ink, the exhibition will explore the diversity of Chu Teh - Chun's practice and his iconic aesthetic which contributed significantly to the Chinese modernist movement in France.

Her artistic practice is primarily interested in the historical cycles of toxins within military, daily, and aesthetic realms as well as the poetical recourse deriving from that shift.

Furthermore, performative gestures and practices - in the context of private, public and civic space - have been subjected to forms of aesthetic, ethical and political critique that, to date, see them in isolation from the evolving global contexts that underwrite international developments in performance art.

From the state - sanctioned zeal of religious reformers and the symbolic statue - breaking that often accompanies political change to attacks on art by individuals stimulated by moral or aesthetic outrage, this study aims to present the rationale of iconoclasm and how it has become a productive and transformational practice for some contemporary artists.

About Beta Local Beta - Local is a non-profit organization based in San Juan, Puerto Rico, dedicated to supporting and promoting aesthetic thought and practice through various programs: - La Práctica, a post-academic study and production program, through which Fellows coming from diverse disciplines take a project from concept to production.

She has therefore emerged on the New York scene as a full - blown master, a true syncretist who fuses every movement of the past fifty years — from Arte Povera to Minimalism to Scatter Art to the latest junk aesthetic — into a variegated practice emphatically her own.

The Institute for Interdisciplinary Innovation (I ³) is a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.