Sentences with phrase «aesthetic traditions from»

Not exact matches

The group derives its dance techniques and methodology from movement characteristics, aesthetic qualities and the philosophy of African dance traditions, as well as the enormous movements and rhythmic resources available in various communities throughout Ghana.

Drawing on craft traditions brought from the Baltic, the collection's aesthetic is based on folklore of years past.

The developer has since made a tradition of stretching both the hardware and aesthetic capabilities of the medium with each new release, and weathering significant apprehension from the consumers in the process.

Deeply anchored in tradition, Ross's radical and technologically advanced Mountain photographs are influenced by his fascination with Albert Bierstadt's and Frederic Church's iconic views of the American West, which he studied while at Yale University and which he has described as «my salvation from the certain death of a narrow aesthetic inheritance — namely Clement Greenberg's formalism and the Color Field tradition I was born into.»

The exhibition, which takes its name from Robert Farris Thompson's book exploring the lasting influence of West African aesthetic traditions on contemporary diasporic communities, investigates and gives new meaning to West African aesthetic traditions.

A contemporary artist, born in Iran, educated in the United States and residing in New York, Jinchi borrows from her home culture's traditions of literature and calligraphy, and more broadly from the entire history of painting, to pursue her own aesthetic investigations.

Pouran Jinchi is a contemporary artist who borrows from her home culture's traditions of literature and calligraphy to pursue her own aesthetic investigations.

POURAN JINCHI is an Iranian - born artist who borrows from her home culture's traditions of literature and calligraphy to pursue her own aesthetic investigation.

Inspired by the display structures of low - end downtown Mexico City commercial spaces, Camil appropriates the material of slat paneling found in dollar stores and department stores to create wall works from which she traces an aesthetic thread to the stylistic traditions of American Minimalism.

The patterning that composes each image is sourced from both Eastern and Western aesthetic traditions: Paleolithic and Neo-Paleolithic fetish objects, West African ceremonial masks, Greek Icon painting, Italian and Northern Renaissance altarpieces, Jewish ceremonial textiles such as Tallit and Torah arks, Islamic prayer rugs, alchemical diagrams and geometric references to mathematical equations.

Evertz, who moved from Berlin to NYC at the age of 19, sees her work as bridging two opposing aesthetic traditions: a philosophical Northern European and a pragmatic American approach to painting.

-- Ajay Kurian from The Ballet of White Victimhood: On Jordan Wolfson, Petroushka, and Donald Trump empowering and unapologetic representations of Latin @x culture informed by the feminist and decolonial aesthetic traditions of the Americas

Lawrence adopted his characteristic simple forms and abstract elements from African art, linking that aesthetic tradition to present - day black identity.

Pouran Jinchi is an Iranian - born, New York artist who borrows from her home culture's traditions of literature and calligraphy to pursue her own aesthetic investigations.

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.

Hailing from Edo State, the historic seat of the Benin Empire, he draws inspiration from the dual aesthetic and spiritual traditions which infused his upbringing, using imagery and iconography from both Edo traditions and Catholicism.

Contributed by Jonathan Stevenson / Victor Kanefsky's effervescent documentary Art Bastard casts 76 - year old New York painter Robert Cenedella as a kind of aesthetic Robin Hood who robs from hallowed art tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciate.

In this interview, Krasner speaks of her dismay with the lack of recognition that many professional female artists receive; her resistence to joining the Club and the Irascible Eighteen; her experiences with getting exposure as a female artist; her relationship and respect for John Graham; the interest of Betty Parsons in Krasner's work; the mixed compliments received from Hofmann; her relationship with Newman; Her objection to de Kooning's «Woman» series; the Freudian aspect of Abstract Expressionism; the authoritarian / autocratic image of Rothko and Newman; the sexually biased role of the female within the Jewish Faith; the impossibility of separating content and aesthetic value; her female influence upon Pollock; her role in exposing Pollock to Matisse; her ability to network for Pollock (Herbert and Mercedes Matter, Sandy Calder, James Johnson, Sweeney, Hofmann); her ambiguity as to whether she has had the tradition female artist experience due to her association with Pollock.

In creating her works the artist draws inspiration from both established formal principles of Western painting and the rich traditions of Islamic art, however the aesthetic outcome is a new order that is foreign to both.

Even if this aesthetic experience was fundamental, she then detached herself from this tradition and the distance...

The final installment of this series will turn to the international artists from Europe and Latin America who constituted a major component of that exhibition, bringing Constructivist tradition, a «concrete» aesthetic, and an experimental and often collaborative ethos to the discourse of perceptual art.

Inspired by the display structures of low - end downtown Mexico City commercial spaces, Pia Camil in her solo exhibition «Slats, skins and shop fittings», appropriates the material of slat paneling found in dollar stores and department stores to create wall works from which she traces an aesthetic thread to the stylistic traditions of American Minimalism.

PEET is, in fact, probably close to a master working with clay, with enough skill to depart from tradition and embrace a deliberately imperfect, handmade aesthetic, traversing a road paved by the likes of California ceramics pioneers Peter Voulkos, Robert Arneson, and Ken Price in the 1950s and 1960s.

Drawing from the histories of the Civil Rights and Black Resistance movements, Black aesthetic tradition, and the historical avant - garde, Becoming Imperceptible invites you to reimagine both our history and future and opens up a rigorous conversation about system and form in the European, African, and American avant - gardes of the last century.

From South Korea, Shin Meekyoung plays on traditions of forgery by precisely replicating rare vases from soap, whereas Hong Sung Chul aims to inspire the traditional Korean sense of community by bringing viewers together to physically interact with his works, both artists reflecting a typically Korean technically - based aesthetic approFrom South Korea, Shin Meekyoung plays on traditions of forgery by precisely replicating rare vases from soap, whereas Hong Sung Chul aims to inspire the traditional Korean sense of community by bringing viewers together to physically interact with his works, both artists reflecting a typically Korean technically - based aesthetic approfrom soap, whereas Hong Sung Chul aims to inspire the traditional Korean sense of community by bringing viewers together to physically interact with his works, both artists reflecting a typically Korean technically - based aesthetic approach.

Therefore, artists borrowed heavily from British aesthetic traditions, particularly a mode of depiction known as the picturesque.

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.

Villar's work draws from multidisciplinary theoretical sources including the works of Foucault and de Certeau, and is foregrounded by aesthetic traditions ranging from the sixties and seventies performative - based sculpture and installations by Helio Oiticica, Lygia Clark and Cildo Meirelles to the urban strategies of the Situationists and the anarchitecture of Gordon Matta - Clark.

In these drawings, one can grasp the elements of abstraction that are achieved by gradually distancing and varying from an aesthetic tradition or a formal canon.

With more than 45 paintings, drawings, and sculptures, the exhibition examines the ways in which Eastern traditions from Chinese and Japanese calligraphy to Zen Buddhism helped advance Abstract Expressionism's aesthetic agenda — its understated lyricism, its compositional balance, its subtle awareness of place — regardless of the artist.

Deeply anchored in tradition, Ross» radical and technologically advanced Mountain photographs are influenced by his fascination with Albert Bierstadt's and Frederic Church's iconic views of the American West, which he studied while at Yale University and which he has described as «my salvation from the certain death of a narrow aesthetic inheritance — namely Clement Greenberg's formalism and the Color Field tradition I was born into.»

They draw from a variety of aesthetic traditions, ranging from decorative art and design to advertising and folk art.

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.