Sentences with phrase «artist chose these objects»

In keeping with the immersiveness of the project, the artist chose these objects not just for their aesthetic value — «vision is least important of the senses here,» she told British Vogue — but the way they might feel to the touch.

Not exact matches

Installation view thru October 23, 2010 «I've chosen artists» work that I feel share something of a fetish with / in the production / object, particularly based on an aesthetic predisposition that can run formally, culturally, adding the social / personal.

When the Metropolitan Museum invited New Jersey - based Cole to participate in the second season of The Artist Project, its online series exploring «what artists see when the look at the Met,» what they are drawn to when they wander the institution's galleries, he chose familiar objects — wood Ci Wara sculptures.

While each artist has chosen a single idea, object or image, these are just examples of the kinds of things that occupy the artists in their studios, prompting thoughts and conversations.

A three - part exhibition, the first gallery provides a glimpse of McGinness's studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

As the first American artist chosen for this prestigious program, Avery collaborated with seamstresses from the Holding Textile Hermès and their fabric printing facilities for four months and created 300 performative objects from opulent gold, silk, cotton and fleece fabrics printed with her drawings, photocopies, and repurposed trash from Hermès.

A three - part exhibition, the first gallery provides a glimpse of McGinness» studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

The artist's immersive film installations often include durational performance, experimental theatre, and variations of delegated creations of artistic objects and spaces which combine the work of architects, musicians, scientists, and craftsmen as well as factory - made products, all chosen for specific contextual and historical significance.

Roman Ondák's «Swap» (2011) asks a performer to choose an object as they sit behind a table, and when visitors enter the room they are then able to swap the object with anything else they are willing to exchange, while in Chinese artist Xu Zhen's «In Just a Blink of an Eye» (2005) a body floats in mid-air as if frozen, defying both time and gravity, and making the audience question reality and reflect on the work's seeming impossibility.

Many an artist calls upon found objects to materialize his vision, but Nathan Slate Joseph insists his are «chosen» in the pursuit of making works about expansion and contraction.

I recognized that the objects and places he chose had a personal connection to the artist, which was made more evident with the knowledge that he painted them from life, and never from photographs.

Later in the century, the artists associated with Surrealism, including André Breton, emphasized the act of the artist's choosing of an object as the definitive moment in an artwork's conception.

NE, The Chosen Object — European and American Still Life Los Angeles Museum of Contemporary Art, Los Angeles, The Private Images: Photographs by Artists Clark Institute, Williams College, Williamstown, MA, The Dada / Surrealist Heritage

The now very senior Wayne Thiebaud (b. 1920) has often found himself classified as a Pop artist, largely because a large part of his subject matter — still lifes of commonplace objects (in his case often items of mass - produced food)-- overlaps with the kind of things that members of the American Pop movement chose to depict.

At the Hirshhorn, you will find an artist who is, in fact, interested in those things, canny about the subjects he chose, and not at all indifferent to the meanings and messages carried by the objects he represented.

These historical inclusions, subtly and adroitly chosen, acted as bridges between projects by contemporary artists and objects with no disciplinary relation to art.

The nuances of the continent's terrain have been mapped through the artists» interpretation and subjective depictions of the form, further contextualized in relation to the chosen space, place and objects.

It shouldn't come as a surprise that drawings are so frequently the objects of art that artists themselves choose to live with and work around.

Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

The symbolism of the objects the fans choose though is ripe for an artists interpretation.

If one excludes the controversial claim that the 3 million year old Makapansgat Pebble (University of Witwatersrand, Johannesburg) represents the world's oldest piece of junk art (in this case an objet trouve or «found object», chosen for its resemblance to a human skull), the first junk artist was Marcel Duchamp (1887 - 1968).

[2] In the 18th century, Chinese artists began to combine oblique perspective with regular diminution of size of people and objects with distance; no particular vantage point is chosen, but a convincing effect is achieved.

The artists do not aim to create an original; rather they follow in the tradition of Marcel Duchamp, who famously designated ordinary mass - produced objects as «Readymade» works of art, and Jasper Johns, who, in the late 1950s, chose to paint images «the mind already knows,» such as targets and the American flag.

Alongside their work, Wunderkammer also incorporates objects chosen by the artists in the show including well thumbed books of reference, the objects they collect, and pieces of furniture from their studios.

Interviewed for Apollo magazine, the artist described how Giacometti's work has influenced her own: «He's one of my favorite artists, so it was insightful for Philipp to choose me because I don't always think it's so explicit in my work... I've been thinking about Giacometti a lot as somebody who has an interesting sense of the space between objects, or the suggested space around objects...»

For this exhibition we have chosen to juxtapose selected tantric objects and drawings with works by contemporary artists, which both directly or indirectly relate and reflect on some of the notions of tantric art.

Pendleton is one of three artists chosen to present a solo exhibition in conversation with the exhibition of works by Ian Wilson, an artist whose work aims to present distilled, non-referential objects.

Choose from beautifully handmade objects, including jewelry from local artists, fair - trade items from across the globe, award - winning art supplies and toys for children.

This Finnish artist has made it his practice to realize all his chosen objects in a lifelike manner and at actual size.

Duchamp distinguished his «readymades» from other «found objects» by stating that, whereas «found objects» are chosen for their interesting aesthetic qualities, «readymades» are mass - produced objects transformed into art by the artist's mere act of selection - thus no exercise of taste is required or implied.

The artist muses about how the human mind will sometime charge everyday objects with a responsibility of some sort, and he has chosen his materials for their ability to meet those inclinations.

In Sworn they have chosen an artist of strong intellectual curiosity who has found a way of preserving the mystery of the past even as she expresses it in objects, words and images.

These artists were each chosen by Clark for the fact that they each «embrace light as a premium medium in their art and demonstrate a keener interest in perception than in the process of crafting discrete objects.»

OBJECT LESSONS will be a weekly seminar with a visiting artist about a text or work of their choosing.

Now as a follow - up, McGinness and the museum will open «Studio Visit» on January 25, 2014, a three - part exhibition, the first gallery will provide a glimpse of McGinness's studio practice, the second will display a selection of the objects McGinness chose from the museum collection alongside his sketches and final image, and the last portion will show early works the artist made while growing up in Virginia Beach.

One of the best - known performances by the New York - based Serbian artist, the 6 - hour event involves her lying in a prone position surrounded by 72 objects which (a sign explained) members of the audience could use on her in any way that they chose.

The majority of the artists within my group have chosen objects, paintings, or photographic - based work, exempt of body, race, or any political climate upon immediate appearance.

Like experiencing Craig - Martin work, after being in the presence of the iconic style of Julian Opie, you may find it challenging to view any object without pondering how this intuitive artist might choose to render the core characteristics.

These objects became art simply because Duchamp chose to call them art, and he had the authority to do so because the art world considered him an artist.

In 1968 American artist Lawrence Weiner wrote a «Declaration of intent» stating that he no longer wished to make art objects, but instead chose an art where the idea took precedence.

The chosen pieces in turn force the artist to the highest concentration, calmness and thoughtfulness, without which none of the objects would obtain their enormous strength.

A place, the artist notes, «where objects, when they choose to visit us, do so with all their unknowable intelligence and perverse strangeness intact.»