Sentences with phrase «art in a critical way»

In any case, the authors in this issue open some of the doors — either a little way or wide open — to possible ways of dealing with the history of the exhibition of art in a critical way.

Not exact matches

This marriage of critical and theological method opened the way for careful considerations of the myriad ways in which art has religious dimensions and religion is expressed and experienced aesthetically.

To be critical is to have a sense of taste and discrimination, to be able to judge authentic and inauthentic art, and to share your judgments with others in helpful ways.

Art was a great way to familiarize students with critical content they would need later in the course.

The Art and Science of Teaching emphasizes that graphic organizers are popular ways for students to represent the knowledge presented in critical - input experiences.

At the same time, I appreciate blogs that keep me informed about a wide range of art and art news, such as Hyperallergic; painter Sharon Butler «s blog Two Coats of Paint; and critical writing that does keep current with art exhibitions but in an idiosyncratic way, like painter Bradley's Rubenstein «s reviews on Culture Catch.

NCM continues in the lineage of Critical Engineering and Stacktivism, but also of institutional critique, stemming from the 1960s with the likes of Fred Wilson and Andrea Fraser as a way to critique the embedded politics of arts institutions where the works existed.

In fine art, the paint itself was considered the critical, essential element, and the trend in seeing paint in this way began in the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpieceIn fine art, the paint itself was considered the critical, essential element, and the trend in seeing paint in this way began in the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpiecein seeing paint in this way began in the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpiecein this way began in the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpiecein the brush strokes of the Impressionists, was codified by Cezanne, and was rendered most clearly by W.J.M. Turner in his brushiest millennial masterpiecein his brushiest millennial masterpieces.

Both authors will discuss the relationship of the idea of the avant to their own work and the extent to which it is or isn't a useful way to think about ideas of time and temporality, newness and oldness, chronology and succession, beforeness and afterness, and the layered, textured, multi — species spaces in which culture (and not just human culture) happens: Morton in relation to his writings on literature, art, music, and ecology in landmark texts such as Ecology Without Nature, The Ecological Thought, Hyperobjects, and Dark Ecology; and Wolfe in relation to his work as both author (Critical Environments, Animal Rites, and What Is Posthumanism?)

«It's very funny and critical of the art - gallery scene, how gallerists talk about works in a way that are difficult to understand,» said Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Aart - gallery scene, how gallerists talk about works in a way that are difficult to understand,» said Patricia Hickson, Emily Hall Tremaine Curator of Contemporary ArtArt.

Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 30?

Continuing in this way with our mission of inclusion, education, critical reflection, independent thinking and advance public appreciation of contemporary art and culture to generate social commentary and impact.

Given that Tuttle devotes much time to research and, in a way, his prints are experiments intended to engage the art historical and critical as much as the sensory faculties, it made sense that this exhibition took place at an educational institution.

That unabashed bombast has made Wiley a walking superlative: the most successful black artist since Basquiat, possibly the wealthiest painter of his generation, certainly the one who made his name earliest (he was 26 for his first major solo show), a gay man who has become the great painter of machismo for the swag era, a bootstrapper from South Central who talks like a Yale professor (much of the time), a genius self - promoter who's managed to have it both ways in an art world that loves having its critical cake and eating the spectacle of it, too, and a crossover phenomenon who is at once the hip - hop world's favorite fine artist (Spike Lee and LL Cool J own pieces) and the gallery world's most popular hip - hop ambassador.

She is interested in exploring the relationships between contemporary art and other disciplines such as critical pedagogy, gender studies, human rights and literature in order to imagine and materialize the present and nearby futures, where creation and collaboration lead the way.

As an activist, she sees the capacity of arts spaces to activate ideas and people around critical issues in ways that traditional modes of activism do not.

Though Cotter may disagree, he was talking about art in a way that fits with a kind of critical» - ism» — «postmodernism.»

At a moment in which the place of the humanities and the arts are coming under heavy attack within the United States, Muntadas» project is in itself a poignant reminder of the powerful way in which art can be practiced as a critical tool and how it is important that it continue to be a major component of academia, nurtured and fostered within the university.

Josef and Anni Albers made 14 trips to Mexico and Latin America after they settled in US and «critical to that was the way they experienced the art there, which was with incredible respect, rather than condescension,» he says.

The fifth in our series on art books and essays which have changed the way we see and understand the visual arts, today focusing particularly on Clement Greenberg's influential essays «Avant - Garde and the Kitsch» (1939) and «The Plight of Culture» (1953), both of which were republished in the 1961 Art and Culture: Critical Essaart books and essays which have changed the way we see and understand the visual arts, today focusing particularly on Clement Greenberg's influential essays «Avant - Garde and the Kitsch» (1939) and «The Plight of Culture» (1953), both of which were republished in the 1961 Art and Culture: Critical EssaArt and Culture: Critical Essays.

«I think art can help channel a lot of the emotions in a positive way and encourage critical dialogue on the subjects,» Cesarine concluded.

Critical of the ways in which the annals of art history divorced abstract art from its political context, particularly 1950s Abstract Expressionism, Bradford around 2000 decided, «let's make abstract painting and lets imbue it with policy, and political, and gender, and race, and sexuality» (Mark Bradford, quoted in «Shade: Clyfford Still / Mark Bradford», Denver Art Museum, 2017, onlinart history divorced abstract art from its political context, particularly 1950s Abstract Expressionism, Bradford around 2000 decided, «let's make abstract painting and lets imbue it with policy, and political, and gender, and race, and sexuality» (Mark Bradford, quoted in «Shade: Clyfford Still / Mark Bradford», Denver Art Museum, 2017, onlinart from its political context, particularly 1950s Abstract Expressionism, Bradford around 2000 decided, «let's make abstract painting and lets imbue it with policy, and political, and gender, and race, and sexuality» (Mark Bradford, quoted in «Shade: Clyfford Still / Mark Bradford», Denver Art Museum, 2017, onlinArt Museum, 2017, online).

Times have thankfully changed, but some would rightly argue that both educational and arts organisations have a way to go in creating the best critical paths for more balanced representations.

I think modern is more important than emerging, art that evolves and discusses what it means to be an artist and to display and exhibit art in progressive and critical ways.

The program will address the role of artists, curators and other art professionals in an increasingly borderless world, investigating the ways in which artistic practices, curatorial strategies and critical commentary have been reconfigured by intensified patterns of global circulation.

While they are given broader visibility through streaming broadcasts and a comprehensive online archive, even without taking a clear form, the accumulated results of this initiative, along with the experiences of the participating artists and audience members, have the capacity to gradually — and yet in a highly critical way — alter stalled, traditional modes of art.

In their eagerness to find a new way for art, Americans began again to consult continental examples; but a newly awakened sense of their own powers made them do so in a more critical and independent spiriIn their eagerness to find a new way for art, Americans began again to consult continental examples; but a newly awakened sense of their own powers made them do so in a more critical and independent spiriin a more critical and independent spirit.

The way that Diao's technique both allows the viewer entry and keeps him or her at bay instills a critical distance that enables the viewer to carefully consider the role not only of Newman, but of abstract art and its utopic aspirations, both historically and in the present.

The last biennial, which curators Elisabeth Sussman and Jay Sanders used as an opportunity to showcase the ways in which artists were embracing a hybridized approach to their mediums in order to invent new directions forward, was an enormous critical success — raising the stakes for this year's curators, the themselves - hybridized trio of former Tate Modern film curator Stuart Comer (now at MoMA), Art Institute of Chicago professor and artist Michelle Grabner, and ICA Philadelphia curator and WhiteWalls editor Anthony Elms.

It is widely known that Microsoft has been working with the legal assistance sector in the USA for a couple of years https://law-tech-a2j.org/united-states/legal-services-corporation-announces-timely-microsoft-collaboration/. A press release in April 2016 stated: «Drawing on state - of - the - art cloud technologies, this portal will enable people to navigate the court system and legal aid resources, learn about their legal rights and prepare and file critical court documents in a way that is accessible, comprehensive and easy to navigate».