Sentences with phrase «artist as an artistic practice»

Lives of Artists is a curatorial research project that aims to initiate a critical discourse and presentation of the fictional artist as an artistic practice and production.

Not exact matches

Just as professional artists must practice and experiment to develop and improve their artistic skills, so must leaders work to acquire and improve their leadership abilities.

Nimah loves creating coloring books as a way to involve others in art and her artistic practice without putting too much pressure on them to be «artists» themselves.»

Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives — and for women artists, additionally, those relating to gender.»

Recognizing the Bronx's cultural contributions — including the birth of artistic movements such as hip hop, graffiti art and Latin Jazz, that served as inspiration to many contemporary artists — in 1999 the Museum expanded its collecting practice to include works by artists for whom the Bronx has been critical to their artistic practice and development.

Flavin has been credited with being «one of the first artists to make use of a basically progressional procedure,» and the systematic arrangement of color and light fixtures was an aspect of his work that not only led to it being characterized as Minimal art but which moreover influenced Conceptual artistic practices.

And in fact, while Veltkamp isn't ordinarily identified as an activist artist, he has a history of doing just such a thing in his artistic practice: he creates space.

Conversations will also present the latest edition of Hans Ulrich Obrist's ongoing series looking at artistic practice, entitled «The Artist as Curator», with the artists Joseph Kosuth, Liu Ding, Martha Rosler, Rirkrit Tiravanija, and Martha Wilson.

Louise Bourgeois One of the most influential artists of the twentieth century, Louise Bourgeois described her artistic practice as an attempt to work through whatever tumult plagued her — psychologically, personally, or artistically.

In her artistic practice, the artist makes herself available both as a protagonist and as a projection in regard to her sociocultural analyses, taking on different roles in the process.

While the idea of historically identifiable «-- isms» has largely been jettisoned as a quaint 20th — Century notion, there are certainly notable areas of artistic practice that seem to, for whatever reason at certain moments, gain traction with large numbers of artists.

The Spooling the Ethnographic course will take as a starting point Hal Foster's 1996 essay The Artist as Ethnographer, which looks at a turn to ethnography / anthropology within artistic practice.

As the idea for Iniva developed, it grew to encompass internationalism and the study of global artistic practice; the remit being that Iniva should seek out and champion artists from around the world whose work and ideas would provide new perspectives for Britain's then predominantly western - centric view of the visual arts.

As international artists flock to the city, there's an uncomfortable sense that the «lotus» of acceptable artforms might be being imposed on a swampy grassroots artistic practice.

These objects served as offerings of inspiration for his artist friends, brought attention to contemporary artists operating outside of Western art centers, and represent collecting as an inherently artistic practice in its own right.

Meet the artist / curator: Ashley Jude Jonas By Eva Buttacavoli Photo: Ashley Jude Jonas, «Buffalo Husband» As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and -LSB-...]

She is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations.

On Sunday, December 7th, Joseph Kosuth will take part in a panel discussion on artistic practice and the artist as curator.

The artists explore these through poetry, symbolism, and metaphor or by exploring particular forms of artistic practice associated with rupture or bearing witness as a form of social protest.

Her project for the artist book «Berlin 1973», is conceived by Isa Genzken as her first artistic work relevant to her practice.

«It's the perfect moment to revisit Rauschenberg's career, given that his impact continues to gain momentum as more and more contemporary artists pay homage to, and are influenced by, various facets of his creative practice and artistic production — from his technology - based artworks and the reuse of images to international collaborations that demonstrated the power of art to spark dialogues between various cultures,» stated Christy MacLear, CEO of the Rauschenberg Foundation.

A-I-R Laboratory hosts up to 30 international artists a year and focuses on production and research based practices within the context of the residency treated as an artistic medium.

You must identify as a visual artist and be able to submit a portfolio of work that showcases a serious commitment to a studio or artistic practice.

«C'est l'est not ouest» is negotiating the artist's role as a director, provocateur and indicator of aesthetics, through a self - critical presentation of what the preconception of artistic practice is today.

In this exhibition, I hope to highlight aspects of his artistic practice as well as his professional career as a university professor and its impact on several generations of artists, curators and writers from Nigeria, West Africa and across the continent.»

Galerie Lelong presents Chicago Invites Chicago, a group exhibition highlighting the richness of contemporary artistic practices within a city that has fostered significant artist groups such as Monster Roster and the Chicago Imagists.

By personifying the book itself, Cameron articulates her artistic practice as both the subject (The Artist), agent and author.

Eschewing the accepted hierarchy of artistic forms — painting, drawing, and sculpture — as well as an art market dependent on the production of objects, artists embraced performance as a transgressive practice.

It continues to be relevant today, and acts as a vehicle for proposals and explanations of artistic practice with a view to artists producing meaningful engagement with society.

From artist - led platforms to projects developed from within and in critique of institutional formats, this panel aims to engage with the dialogic as an artistic and educational practice.

Representing a diversity of artistic practices and media, all ten artists share a passion for New Orleans and a strong commitment to their own communities, as well as to the contemporary arts scene in the city.

As part of the exhibition opening, several artists featured in After Darkness: Southeast Asian Art in the Wake of History — FX Harsono, Nge Lay, and Tuan Andrew Nguyen — come together for a thought - provoking discussion on their experiences navigating dramatic and often dangerous sociopolitical upheavals, and the profound effect these experiences have had on their artistic practices.

This project offers a new means of apprehending the work of this young artist who has continuously questioned his own artistic practice as well as his means of production.

LAND supports dynamic and unconventional artistic practices using a tripartite approach: Commissioning public projects of site - and situation - specific works with national and international contemporary artists Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities Offering additional programs such as performances, workshops, residencies, discussions, and publications LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large - scale, multi-artist, multi-site exhibitions and single - site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists

Michelle Grabner's multiple roles — as artist, professor, curator, and critic — enable her to approach her artistic practice in a variety of ways.

The NYC Department of Cultural Affairs and Department of Veterans» Services today announced new projects as part of Bryan Doerries» evolving two - year appointment as a NYC Public Artist in Residence (PAIR), a City initiative to enhance civic services through artistic practice.

Artists from Robert Rauschenberg to Christopher Wool have fostered skepticism about the role of the hand - made as an indicator of artistic genius or authenticity, a doubt that has found an outlet in a wide variety of paintings and artistic practices since the 1960s.

John Fare, who himself was present as a sort of phantom host, is an artist whose myth extends much further than his artistic practice.

Organized by Rhizome's Artistic Director, Michael Connor, Brushes convenes artists Laura Brothers and Andrej Ujhazy, art historian Alex Bacon, and others to explore digital painting as a practice for screen - based display and online circulation, against the backdrop of a current surge of interest in digital painting for the gallery.

Spanning practice and theory, Hockney's investigation of artistic techniques has also developed through art - historical research, resulting in Secret Knowledge (2001), his publication on the optical devices used by the Old Masters, as well as A History of Pictures: From the Cave to the Computer Screen (2016), written in collaboration with art critic Martin Gayford and further exploring the many ways artists have pictured the world.

The exhibition features works produced between 1964 and the present, in order to situate these artists» practices as in part a reaction against the misogyny present in the art world in the 1960s and 1970s, as well as to celebrate the fortitude and dogged artistic activism that these artists have shared for nearly five decades...

Next, we talked about his unusual trajectory as an artist and his thoughts and opinions on the inevitable relationship between technology and artistic practice.

As self - contained as the MoE project is, it also allowed Cox to engage in dialog with other artists, a welcome break from his solitary artistic practicAs self - contained as the MoE project is, it also allowed Cox to engage in dialog with other artists, a welcome break from his solitary artistic practicas the MoE project is, it also allowed Cox to engage in dialog with other artists, a welcome break from his solitary artistic practice.

The title refers to the artists» status in the mainstream art world — whilst the group is largely unknown, their respective practices are greatly admired by their artistic peers and seen as breaking new ground.

The combination of art and self - sustainability will merge together as the artists live off the land and experience how everyday life affects artistic practice.

As a research artist and digital media Ph.D student, I am constantly challenged to reflect critically upon the nature of the various forms which are emerging in contemporary artistic practices.

Her artistic practice has recently focused on producing works that incorporate found fabrics as well as new textiles, which the artist stretches on wooden frames to create organic and almost painterly compositions that oscillate between transparency and density, foreground and background.

Germano Celant's text further explores the influence this 16th - century style had on Mapplethorpe's artistic practice and sensibility, illuminating the artist's interest in the study of pure form as well as allegorical imagery.

A central aspect of his artistic practice has been deep collaborative relationships, particularly with performing artists such as Leigh Bowery, Michael Clark, Douglas Dunn, Yvonne Rainer, Mika Tajima and the New Humans, and many others.

«In addition to offering artists time and space to develop their practices, the Center emphasizes community - building as an important aspect of fueling artistic endeavor.