Sentences with phrase «art contexts such»

Not exact matches

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

Among the findings: (1) art activities can be integrated into classroom content and used to encourage rehearsal - type activities (such as songs) that incorporate relevant subject matter, (2) incorporating information into story, poem, song, or art form may place the knowledge in context, which can help students remember it, especially if the students are creating art that relates subject matter to themselves, (3) through artistic activities like writing a story or creating a drawing, students generate information they might otherwise have simply read, which will very likely lead to better long - term retention of that information, (4) physically acting out material, such as in a play, helps learners recall information, (5) speaking words aloud results in better retention than reading words in silence, (6) increasing the amount of effort involved in learning new information (such as being asked to discern meaning from an ambiguous sentence or to interpret a work of art) is positively associated with its retention, (7) emotionally charged content is easier to remember than content linked to events that are emotionally neutral, and (8) information presented as pictures is retained better than the same information presented as words.

The initiative will focus on contexts of student learning not only in and across the disciplines, but also in diverse spaces that may function effectively and productively as a civic commons, such as museums and events like ISV's Arts Learning Festival.

FINE ARTS: Theatre GRADES 5 - 8 NA - T.5 - 8.6 Comparing and Connecting Art Forms By Describing Theatre, Dramatic Media (Such As Film, Television, and Electronic Media), and Other Art Forms NA - T.5 - 8.8 Understanding Context by Recognizing the Role of Theatre, Film, Television, and Electronic Media in Daily Life

After examining our students» contexts, we may find that find it appealing to pursue success on an exam that will increase students» life opportunities but is not aligned to the course they are teaching (such as a High School Exit Exam that measures mastery of some components of algebra (your course) but also components of language arts, chemistry, biology, economics, geometry, U.S. history and world history).

Such is the chief delight, and paradox, of the show: both strains of early American still - life — Audubon's scientific realism and Peale's painterly illusionism — seem, in the context of western art history, less like «art» and more like «history.»

Accompanied by 170 illustrations, including full - color reproductions as well as photographs, drawings, sketches, and notes, the essays situate Andrade's work in the context of movements that surfaced in the United States in the 1960s, such as Minimalism and Pop Art.

With Shingles (2011), for example, Carl Andre's floor - based metal works meet their working - class counterpart, as copper plates are exchanged for patterns of overlapping asphalt roofing tiles; Siding (2011), meanwhile, replaces Donald Judd's shiny metal cubes with the work's namesake — and very plebeian — exterior vinyl wallcovering found on many a tract house; and by simply lifting a marble countertop off the bathroom sink and onto the wall, Counter (2012) proves that even the slightest of gestures, such as a change of orientation and context, can render foreign something familiar — the everyday as convincing art object.

While her passion for the nature of human perception has tied her legacy to the contributions of the Op Art movement, it would be further understood in the context of the Bauhaus figures that were a major influence on her, such as Josef Albers.

His work has been widely exhibited at venues such as the Sundance Film Festival, Park City, Utah; The Indianapolis Museum of Contemporary Art, Indianapolis; 303 Gallery, New York; Wesleyan University, Middletown, Connecticut; Artsonje Center, Seoul; Context Galleries, Derry; The Hospital, London; PKM Gallery, Beijing; Kunst - Werke, Berlin; Palacio de Bellas Artes, Mexico City; Participant Inc, New York; Centre de Cultura Contemporània, Barcelona; White Box, New York; Galerie Chez Valentin, Paris; Smart Project Space, Amsterdam; The Islip Art Museum, Islip, New York; and Momenta Art, Brooklyn, New York.

It's Bucher's first on American soil in more than 40 years, and some of the art - works on display, such as the imperial Grande Albergo Brissago (Eingangsportal, 1987, a cast of the entrance portal of a since - demolished hotel on Lake Maggiore), have never been shown in an institutional context.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

They see familiar highlights in the very contexts from which they so often diverged — such as Early Sunday Morning by Edward Hopper within Surrealism, The Artist and His Mother by Arshile Gorky within the realism of America's heartland, or Three Flags by Jasper Johns within Pop Art.

For these gallery artists, the questions to ask are how did they process the art of their forebears in such original and compelling ways, while exploring the historical and geographical contexts that contributed such unique responses to personal circumstances and situations?

I started letting go of thoughts such as, «it's so hard to be an artist / native artist in the current modern context» or «one artist in millions gets taken seriously by contemporary culture and the art market».

Even as his work historically emerges from these traditions — organizing simple structures, the use of objects as integers in a larger series, a simple declarative use of materials — his work also foregrounds aspects of such works that have become lost in the art historical context.

The bringing to light of a processual artistic activity, such as Morris called for in his theoretical texts Notes on Sculpture, Part 1 - 4 (1966 - 69) and Anti-Form (1968), likewise addresses the social context of production and labor, a perspective which is also to be seen against the background of the institutional criticism of Concept Art as well as the social expectations during the 1970s with regard to art productiArt as well as the social expectations during the 1970s with regard to art productiart production.

I think that the context of this piece changes constantly and that is what makes it such a great work of art.

But whereas Duchamp's readymades, such as his famous urinal, questioned the artwork's privileged status as a handmade object, the new generation places art within the context of capitalist economy.

In its scope, and encompassing of works produced from varying artistic standpoints, the collection also emphasizes the connectedness of art objects to specific contexts, and as such their mediation between private and public discourse.

Upcoming at Virginia Museum of Fine Arts Posing Beauty in African American Culture April 27 — July 26 This exhibition examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media, including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.

This discussion will touch on themes such as the artist's Chino - Latino identity, his connection to street art, the context of AIDS, and his relationship with poet and playwright Miguel Piñero.

João Maria Gusmão (b. 1979, Portugal) & Pedro Paiva (b. 1977, Portugal) live and work in Lisboa; In the last decade the duo has participated in international contexts such as the 27th Bienal de São Paulo, the 6th Mercosul Biennial, Manifesta 7, PhotoEspaña 08 along with exhibitions at CCA Wattis Institute for Contemporary Arts, San Francisco and Kunstverein Hanover, or the Ikon Gallery.

Robert Irwin, who began his career in L.A. in the late fifties as a robust abstract expressionist, modeling vast canvases, today confines himself to spare gestures - subtle manipulations of line, scrim, light - specifically suited to the particulars of the site and context of each new project (the University Art Museum itself will play host to such an installation early next year).

In addition to the five regular sections of the show (Establishes, Emergent, Generations, Decades and Object), the art fair has a new sector called On Demand, which is for galleries that exhibit context - based and site - specific works such as installations, performances, etc..

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screart museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screArt Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

The proximity of generations of people living closely together under the same roof, the every day struggles, the sounds of the streets, and the music all provide such a rich context in which to produce art.

It's portuguese roster is composed by artists such as Julião Sarmento and João Louro, who are taken to an international context by participating in art - fair circuit.

LACMA has only recently begun to acquire such work within the context of its holdings of Islamic art, understanding that the ultimate success and relevance of this collection lies in building creative links between the past, present, and future.

Occasionally, Collection has been given new contexts in special exhibitions such as Aesthetics of Graffiti, a 1978 show organized by Rolando Castellón that examined the parallel but sometimes conflicting aesthetics of street graffiti and graffiti - influenced fine art.

After the initial rotation opens this September, periodic changes will place works such as Winslow Homer's Fox Hunt and other treasures in new contexts, and curator of contemporary art, Julien Robson, will make use of the historical collection to reveal the links between past and present.

Often, the final compositions are exhibited as art objects — such as photographic prints and video installations — while others exist in a real - time software context, such as «Rainbow Aggregator» (2013) which will be featured at the fair.

«It makes a great program to have younger artists put in this kind of context,» he added, referring to the history of rotating exhibitions of visual artists such as Tim Hawkinson, Spencer Finch and, currently, Nick Cave, along with performing arts events.

The Art of Reading: Peter Nagy and the Xerox panel asks such questions as how does the copy or what is appropriated come to function as a work art and what is its relation to originality; how does «reading the caption'to understand a work of art, how does «reading» itself (which pretty much describes the complaint against so - called «caption art») become an integral part of the work of art; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thArt of Reading: Peter Nagy and the Xerox panel asks such questions as how does the copy or what is appropriated come to function as a work art and what is its relation to originality; how does «reading the caption'to understand a work of art, how does «reading» itself (which pretty much describes the complaint against so - called «caption art») become an integral part of the work of art; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thart and what is its relation to originality; how does «reading the caption'to understand a work of art, how does «reading» itself (which pretty much describes the complaint against so - called «caption art») become an integral part of the work of art; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thart, how does «reading» itself (which pretty much describes the complaint against so - called «caption art») become an integral part of the work of art; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thart») become an integral part of the work of art; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thart; does the context of a work of art define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode thart define that work in some vital way; are there languages embedded in this «reading» process, in the culture, and does it behoove us to try to decode them?

Everyday objects, such as buttons, shirts and shoes, serve as an entrance for viewers into her art, but they are further altered and presented in a different capacity to prompt people to reconsider the original context and the implication.

Shape of Light will place moments of radical innovation in photography within the wider context of abstract art, such as Alvin Langdon Coburn's pioneering «vortographs» from 1917.

In addition to mounting focused monographic presentations of the pillars of 20th - century art such as Peter Halley, Donald Baechler, Andy Warhol, Robert Motherwell, and Julian Schnabel, the gallery explores current themes in contemporary art through thematic exhibitions that place living artists in the historic context of their predecessors.

Edelheit has also done production design for smaller theaters in New York from 1971 to 1974, a number of own experimental art films in the 1970s, demonstrated in a number of contexts in the U.S. and Europe over the years, such as Hats, Bottles & Bones: A Portrait of Sari Dienes (1977)[7] an artist portrait on Sari Dienes, shown including the Museum of Modern Art and is included in collections at the Anthology Film Archivart films in the 1970s, demonstrated in a number of contexts in the U.S. and Europe over the years, such as Hats, Bottles & Bones: A Portrait of Sari Dienes (1977)[7] an artist portrait on Sari Dienes, shown including the Museum of Modern Art and is included in collections at the Anthology Film ArchivArt and is included in collections at the Anthology Film Archives.

Cárdenas's sculptures are recognizable within the context of concurrent post-war movements such as Nouveau Réalisme in France, Pop Art in the United States, and the Nul Group in the Netherlands, while also drawing from his Latin American heritage.

Nauman's early works were originally discussed in the context of contemporary practices and discourses, such as minimal music, postmodern dance, conceptual art, Gestalt therapy or the philosophy of language.

Similarly (and roughly contemporaneously), in her 1991 essay «Notes on the White Man's Burden», Piper challenged critics and curators to «situate the art of colored people within the larger context of art history,» rather than separating it, thus relegating it to an «unrelated, less valued category (such as «ethnic art» or «sociology») where its seminal influences on Euroethnic art can be ignored.»

Curated by Dean Saskia Bos and Associate Dean Steven Lam, Free as Air and Water addresses these questions within the context of contemporary art linking a broad set of issues such as public access to resources, political ecology and governmentality within a group exhibition that features a diverse array of artistic operations and tactics.

This is a comparative context which has its roots in the practice of art, architecture and visual thinking in the West and the East, and relates to concepts and practices such as Wabi Sabi.

It gives such a clear and vibrant context for your art, makes you want to delve in deeper and meditate in front of your beautiful work.

Since the early 1990s, Pedro Cabrita Reis has made masterful use of architectural materials including cement, bricks, wood, steel, metal, beams and actual fragments of architecture, which he juxtaposes with elements from the visual arts such as enamels, pigment and neon light to create poetic, imagination - led works of great political value, capable of revealing memories associated with the context in which they are located and from where they come.

She built an essential context for the visionary statements being made internationally in video and media art by multi-cultural voices, emerging talents, and more established artists such as Laurie Anderson, Gary Hill, Mako Idemitsu, Joan Jonas, Shigeko Kubota, Nam June Paik, Bill Viola and Zhang Peili.

«Passengers» is Hoffmann and CCA's answer to ongoing programs such as the Berkeley Art Museum's «Matrix» and the San Francisco Museum of Modern Art's «New Work» that sample contemporary art from the international conteArt Museum's «Matrix» and the San Francisco Museum of Modern Art's «New Work» that sample contemporary art from the international conteArt's «New Work» that sample contemporary art from the international conteart from the international context.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

As such, it presented a challenging and timely examination of a complex set of questions around contemporary labour conditions and their implications within the context of art but also more widely.

Weerasethakul has presented his work widely in international art and film contexts, including the Sharjah Biennial 11 in the UAE (2013), where he and fellow Kick The Machine artist Chai Siri received the Sharjah Biennial Prize, dOCUMENTA 13 in Kassel, Germany (2012), Liverpool Biennial (2006), Busan Biennale (2004), the Istanbul Biennial (2001), and in solo and group exhibitions at art spaces such as Haus der Kunst in Munich, Germany; Hangar Bicocca, Milan, Italy; Walker Art Center, Minneapolis; New Museum, New York; Irish Museum of Modern Art, Dublin; and Musée d'Art Modern de la Ville de Parart and film contexts, including the Sharjah Biennial 11 in the UAE (2013), where he and fellow Kick The Machine artist Chai Siri received the Sharjah Biennial Prize, dOCUMENTA 13 in Kassel, Germany (2012), Liverpool Biennial (2006), Busan Biennale (2004), the Istanbul Biennial (2001), and in solo and group exhibitions at art spaces such as Haus der Kunst in Munich, Germany; Hangar Bicocca, Milan, Italy; Walker Art Center, Minneapolis; New Museum, New York; Irish Museum of Modern Art, Dublin; and Musée d'Art Modern de la Ville de Parart spaces such as Haus der Kunst in Munich, Germany; Hangar Bicocca, Milan, Italy; Walker Art Center, Minneapolis; New Museum, New York; Irish Museum of Modern Art, Dublin; and Musée d'Art Modern de la Ville de ParArt Center, Minneapolis; New Museum, New York; Irish Museum of Modern Art, Dublin; and Musée d'Art Modern de la Ville de ParArt, Dublin; and Musée d'Art Modern de la Ville de ParArt Modern de la Ville de Paris.