Sentences with phrase «artist discusses moving»

Here, the decidedly anti-academic artist discusses moving sculptures, keyholes and broken noses.

Not exact matches

On Friday, December 8, 2017, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» to discuss the following topics: the ongoing revelations of sexual predation and harassment in both Hollywood and the political realm; what's currently getting Oscar buzz; what is currently out in cinemas that we recommend (including Coco, The Disaster Artist, Lady Bird and the upcoming The Shape of Water); and highlights from the careers of actor Claude Rains (1889 - 1976) and film composer Ennio Morricone (1928 ---RRB-, both of whose birthdays are on November 10, when we originally planned to celebrate them (a podcast we had to cancel for various reasons).

Jeremy Millar, who met with the artist to discuss the book, reflected, «One sees throughout Tillmans's work a longing that moves between engagement and retreat, a fascination for the crowd and all that comes from a shared experience, the «sensuous community,» but also those things which reveal themselves only when we find ourselves alone.

At SAAM, Schriber discussed Hammons» interactions with JAM, an alternative space for emerging African American artists which had moved a couple of blocks west of Franklin Furnace, but she did not mention this earlier incarnation of «Illegal America.»

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Made in Arts London has invited a number of key professionals — specialising in the creation, commissioning, promotion and sale of new media, moving image, performance and installation — to discuss the topic from a number of perspectives; the artist, the curator, the gallerist and the consultant.

Los Angeles - based artist Pae White discusses her boundary - defying work that moves fluidly across the disciplines of fine and applied arts, architecture, and design.

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.

Hoxton project space Kunstraum invites artist Dorine van Meel to discuss her current practice, situated within and between the media of moving image, sculpture and installation.

Here, the multimedia artist discusses his life as an expat in Berlin and why moving between art the gallery and the street is a good thing for both contexts.

The artist will also discuss the influence of her move from New York to New Mexico in 1990 and the effect of that landscape / environment on her palette as well as the suggestion of narrative in her subsequent work.

Prior to the opening of the exhibition Susan Rothenberg: Moving in Place, the artist and curator of the exhibition discuss the development of Rothenberg's imagery, from the ground - breaking early horse paintings of the mid-1970s to her fragmented and spinning self - portraits.

Both artists will show a selection of their moving image work and afterwards will discuss their practices in relation to the history of the cooperative.