Sentences with phrase «aesthetic strategies in»

The exhibition aims to demonstrate Gutai's extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social and political context of postwar Japan and the West; and to further establish Gutai in an expanded, transnational history and critical discourse of modern art.

Gutai: Splendid Playground seeks both to examine Gutai's aesthetic strategies in the cultural, social, and political context of postwar Japan and to further establish the group in an expanded, transnational history and critical discourse on modern art.

Not exact matches

Commissioner for Tourism, Arts and Culture, Mr. Steve Ayorinde in a statement, said the remodelling of the magnificent Gani Fawehinmi statue was part of the State's strategy to enhance the aesthetic beauty of open public spaces and parks across the state and to celebrate and immortalise worthy icons that contributed immensely to the development of Lagos State.

The family friendly visuals and aesthetic feel of Chocobo's Dungeon successfully manage to mask what is otherwise an in - depth accomplished RPG that requires strategy, tactics and persistence.

Less a straightforward horror film than a heartbreaking psycho - thriller, Rumley has frequently cited the films of Nicolas Roeg as an inspiration and that influence is felt both in its shrewdly executed aesthetic strategies and the near stifling intensity of its central, unfolding drama.

For comprehension instruction, eight different instructional practices were observed and coded: doing a picture walk; asking for a prediction; asking a text - based question; asking a higher level, aesthetic response question; asking children to write in response to reading (including writing answers to questions about what they had read); doing a story map; asking children to retell a story; and working on a comprehension skill or strategy.

Resistance Performed — Aesthetic Strategies under Repressive Regimes in Latin America: Eugenio Dittborn

It doesn't matter if she hews to a feminist reading of history, self - consciously apes historical modes of abstraction, or engages in Warholian strategies, the «post -» artist will happily jettison aesthetic engagement for the opportunity to pontificate in the service of self.

Finally, due to both the rational structure of her media - spanning, multi-layered works and her diverse spectrum of subject - related references to music, literature, and European cultural history, Hanne Darboven prefigures strategies and discourses of aesthetic knowledge production and mediation in current art.

This brief essay from Phaidon's Art in Time shows us some of the key artists of this significant movement, whose conceptual as well as aesthetic strategies remain important to this day.

Together, the works in the exhibition employ a heterogeneous range of aesthetic strategies, often emphatically representing the city's inhabitants through forms of bold figuration, and foregrounding New York itself as a location of conflict and possibility.

The radical shift in art making is that for years, the conceptual strategy was to fancy - up ideas with tools from the aesthetic toolbox, but Riedel's system takes tools from the conceptual toolbox as strategies to create an aesthetic body of work.

She has participated in many international exhibitions including: The Arcades: Contemporary Art and Walter Benjamin at the Jewish Museum, New York (2017); Resistance Performed — Aesthetic Strategies under Repressive Regimes in Latin America, at the Migros Museum, Zurich, Switzerland (2016); La No - Historia, Biennial of Mercosul, Porto Alegre, Brazil (2011 — 2015), the 12th Istanbul Biennial, Turkey (2011); the 8th Mercosul Biennial in Porto Alegre, Brazil; the 31st Sao Paulo Biennial, Brazil (2014); The Artistic Experience of History, State University of Rio de Janeiro, Brazil (2013); and Dislocation at the Kunst Museum of Bern, Switzerland (2009), among others.

The artist creates aesthetic mythologies, which adopt and play with themes and techniques used for the fabrication of realities in advertising strategies, political spin and entertainment, as well as in the economic and legal languages, and their social applications.

Their work resulted in original and hybrid aesthetic strategies, responding to the industrial expansion that colored the social and economic conditions in South America following World War II and to the political transformations of the time.

However her aesthetic strategy differs from her predecessor in its autobiographical dimension and focus on the issue of racial identity, while at the same time suggesting a more formal reading with respect to materials, processes, and altered states.

Whether or not the artistic intents, aesthetic strategies, and contexts of production are similar or in dialogue in any way is one of many questions this provocative exhibition raises yet leaves unanswered.

In collaboration with artists, curators, scholars and viewers, we will draw on a range of experiences and approaches to develop new strategies for productive critical, social and aesthetic engagement.

Sterling Ruby (born 1972) is an American artist who works in a wide range of aesthetic and material strategies, from sculptures made of saturated, glossy, poured polyurethane, bronze and steel, to drawings, collages, richly glazed ceramics, spray - paint paintings, photography and video, as well as textile works that include quilts, tapestries, garments and soft sculptures.

In addition, the course offers a unique occasion to examine the cultural and aesthetic strategy of the biennale, working closely with the biennale director, curators and participating artists.

In addition, the course offers a unique occasion to examine the cultural and aesthetic strategy of the biennale, working closely with the biennale directors and participating artists

She is the founder of the Pocho Research Society (PRS)(2002), a project that explores the elasticity of the artifact and the mythmaking aspects of «History» through conceptual, performative, social, and aesthetic strategies that result in multi-media installations, video, photographic work, social engagement, publications, and public interventions.

It does so not necessarily in order to render it a-political, but so as to recuperate it as an aesthetic strategy, comprised of such Victorian features as the coded, ambiguous, artificial (as in artifice), and supposedly sublimated.

German artist Hans - Peter Feldmann collects in order to appropriate and challenge aesthetic sensibility, Richard Hamilton's use of pre-existing photographic imagery is linked with pop's consumerist strategies, and Dieter Roth, German - Swiss conceptual artist and long time collaborator with Hamilton, alighted most particularly (nay obsessively) on the postcard format, exemplified in Postkarte.

Rejecting the compositional strategies championed by Bauhaus artists (and still promulgated in 2D - Design foundation classes), these artists have opened a path to a new aesthetic, often mistakenly dismissed as bad painting.

These aesthetic strategies, so deeply understood by Katharina Fritsch, were strikingly effective in her recent exhibition... Read more

«Hypothesis for an Exhibition» explores parallels in thought and aesthetic strategies between Italian Conceptualist Giulio Paolini's work, especially of the 1960s and the»70s, and the work of a younger generation of artists based in New York City today.

From a processual and a relational approach and using strategies like montage and recycling, he builds artifacts where the functional and the aesthetic merge in strange ways.

In the age old battle of turning wants into needs, advertising agencies, designers and producers increasingly incorporate sophisticated aesthetic strategies to entice the public towards their particular brand.

Not least of all his work is also connected however with the aesthetic strategies of the counterculture in California.

The avant - garde movements» strategy has been active precisely in the direction of the elaboration of new aesthetic languages capable of isolating and articulating that metaphorical angle.

Pedigreed in Debord and steeped in the visual / verbal strategies of Ed Ruscha and Richard Prince, «the days of this society is numbered» looks tailor - made for MoMA's longstanding emphasis on aesthetic lineage, but remarkably, it's one of the few pieces that seems to wear such a conventional stamp of institutional approval.

Through a range of aesthetic strategies and effects — from the confrontational, to the humorous, to the quietly elegiac — they consider the ways in which war and conflict around the world impact — or fail to impact — our everyday life.

Hempel uses strategies of collection to represent languages as aesthetic experiences and exercises in free thinking.

With exposed gears, belts, wires, and gadgetry, the SRL aesthetic represents a strategy of transparency, in which the machinery is intentionally left exposed and live events are subject to the chaos or serendipity of «real» time and life.

Deeply invested in the human subject and its status in today's world, the themes and aesthetic strategies of these videos are directly tied to violent political histories that challenge belief in an enlightened and emancipated humanity.

German art critic and editor Isabelle Graw discusses with the artist his aesthetic and symbolic strategies in the cultural contexts of America and Europe.

-LSB-...] The aesthetic articulation of the exhibition grew out of two curatorial methods meeting in this particular place and time, Lodz 1981: that of Harald Szeemann's collaborative, permissive approach with artists on the one hand, and on the other the local strategies of self - organization that had been developing for three decades.

Further presentations of Disarm (Mechanized) will take place as part of the group exhibition Transformers at MAXXI in Rome (11 November 2015 - 6 March 2016) and as part of Resistance Performed — Aesthetic Strategies under Repressive Systems in Latin America at MIGROS Museum for Contemporary Art in Zurich (21 November 2015 - 7 February 2016).

Since 2004, Fontaine has approached the readymade, abstraction, and collectivity not as aesthetic ideals but as coping strategies in the symbolic economy of contemporary art.

For the shift in the American environmental movement from aesthetic environmentalism to regulatory environmentalism wasn't just a change in political strategy.