Sentences with phrase «artist way she saw the world»

Not exact matches

But I was just amazed by how everyone, young and old wanted to be involved... and was so deeply enriched and touched by the experience and the laughter and the love I experienced from the people I met and how women would in particular open their hearts to me and tell me the stories of where they've come from, particularly because I have the language and was coming there as a woman and just how touched they were that I was there as a woman from England who's learned the language and who's an artist and running this project and come all the way to see them so they didn't feel forgotten I think that was pretty much what they felt... that their stories were being heard so they don't feel forgotten knowing the tents would be around the world.

Brigsby Bear is one of the more original movies I've seen in the past decade but it positively recalls Be Kind Rewind and The Disaster Artist in its loving, underlyingly tender portrayal of how we tell and re-tell stories as a way of trying to understand a confusing and complicated world and be understood.

We are entering a phase in our history which demands that artists and thinkers and writers and teachers respond to the world as we see it — the world as it's going to evolve over the next four to eight years in a profoundly different way, and I think people have to be honest and urgent and deeply committed to truth.»

This is a gentle book, an inspirational one with the promise of some instruction for the visual artist, but you need not be an artist to see what she sees, and to enjoy the way that Ms. Eagle perceives and so lovingly sees the world.»

Paglen is an artist, writer, and experimental geographer whose work deliberately blurs lines between social science, contemporary art, journalism, and other disciplines to construct unfamiliar yet meticulously researched ways to see and interpret the world around us.

Explore the artist's style and ways of working David Hockney is an artist who is continuously experimenting, finding new ways of seeing the world and presenting it back to us...

Zoe Leonard (b. 1961), a self - taught American artist and activist, has made an indelible mark on the way we see the world.

In 2012, the Milwaukee Arts Board named Roy an Artist of the Year, honoring him not for his prickliness but for his tenacity and his ability to continually make us see the world around us, and our place in it, in a new way.

David Hockney is an artist who is continuously experimenting, finding new ways of seeing the world and presenting it back to us.

«In many ways, this ballet is a self - portrait,» Gleich explains, «The way I see myself as a woman, as an artist, as a person finding my own way and all the while bucking that male hierarchy that continues to dominate the ballet world.

Combining the acquisition of the small sculpture with two drawings establishes a wider context of Barlow's work within the collection, these drawings succeed in telling, in two dimensions, all you need to know about the artist's way of seeing and recording the world in three dimensions.

Characteristic of the collection is its focus on undiscovered young artists, and guests will not only gain a rare glimpse into an otherwise closed world, but also an opportunity to see young, internationally - acclaimed contemporary artists whose works have not yet found their way into Danish museums.

«Of the brilliant artists, curators, and teachers who are showing us new ways of seeing history's narratives and being citizens in the world today, Koyo Kouoh is a leader.

Macel and her team took considerable risks with this exhibition, by framing it in a way that was ambitious but with little by way of curatorial ego — and its optimism and empathy for the artist are a welcome invitation to see the world anew.

Lynn Hershman Leeson, the prolific San Francisco artist formerly known as Lynn Hershman, has made a career blurring the line between fact and fiction, public and private, the way the world sees women and how they picture themselves.

Women Painting Women + Principle Gallery: Charleston Location: Charleston SC Call for artists: Five years ago, a blog entitled Women Painting Women was created that changed the way the world sees what women make and how they portray themselves in paint.

Founded in 2003 by Mark Allen, the Los Angeles - based collaborative Machine Project has worked with hundreds of artists and institutions over the last twelve years to create new ways of seeing and thinking about the world.

It has been a privilege to play a role in that evolution for the last decade, particularly to work with many of the artists who have shaped that renaissance, and our engagement with the Asian market continues to inform the way we see and work around the world.

Explore the artist's style and ways of working David Hockney is an artist who is continuously experimenting, finding new ways of seeing the world and...

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

«Dreamlands: Immersive Cinema and Art, 1905 — 2016 explores the ways in which artists have used the moving image to articulate technology's dramatic influence on how we see and experience the world.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

The Saw Tooth Wave continues the artist's interest in the ways that technologies and cultural zeitgeists imbue our experience of the world, taking its title from a type of audio wave form common to the sounds produced by synthesisers from the 1960s onwards.

Featuring work by British artist Amir Chasson and Norwegian Fredrik Raddum, as well as an installation by Norwegian artist Sverre Bjertnæs in the gallery's newly - launched Project Space, these three artists present us with fresh ways of seeing the world.

Where an earlier generation of African - American artists, such as abstract expressionist Norman Lewis, seen in the first room, were marginalised by an art world that was, the show argues, systemically racist, the new generation were determined to fight their way in «by all means necessary», to paraphrase one of the great buzz figures of the time Malcolm X.

But Lizzie Carey - Thomas, curator of Contemporary British Art at Tate Britain, told Channel 4 News that all the shortlisted artists were very engaged in the real world (see video above), and said the fact that audio and visual work is so prominent showed a «fundamental shift» in the way artists are making work.

The juxtaposition of graphic paintings with readymade objects is one of the artist's signature moves; just as the octopus represents a found image culled from the world, the furniture speaks directly to ways of seeing that exceed the usual confines of an exhibition space.

With their internal logic, these paintings are the testimony of the way the artist sees the world.

«The way I see it, L.A. is probably the major contemporary art center in the world, not just in museums but also — and more importantly — because of all the artists living here and moving to L.A.,» said Maurice, currently co-chair of the MOCA board.

ART21 «provides unparalleled access to the most innovative artists of our time, revealing how artists engage the culture around them and how art allows viewers to see the world in new ways.»

According to PBS, the series «provides unparalleled access to the most innovative artists of our time, revealing how artists engage the culture around them and how art allows viewers to see the world in new ways.»

Here's what she said: «Getting started in the commercial gallery world is best facilitated by engagement with the arts community; participating in public events, residencies, group shows, etc. and building relationships with other artists is one of the better ways to get your work seen while making connections to other curators and gallerists.

The Season 9 artists re-examine the complicated histories of colonization, war and migration, offer new perspectives on our interactions with technology and the environment, critique our conceptions of gender, sexuality, and race, and ultimately inspire us to see our world in new ways.

For «Extremes and In - betweens», the LA - based giant, whose work has influenced generations of artists working in painting, photography, and artists» books, presents a series of works from 2016, rendered in earth tones («a colour that forgot it was a colour») and focused on geography and the way we see the world.

The artist told artnet News: «It was such a complicated book and story that it just really changed the way I was seeing the world.

NOW will celebrate the diversity of contemporary artistic practice, and the unique role of artists in society, who, through their work, can offer alternative ways of seeing and understanding the world around us.

The essence of tradition is to invite the challenge that redefines it, and after many years on the periphery, realism has been reinvigorated by contemporary artists who see it as a way to address the experiences of living in our complex world.

NOW will highlight the diversity of contemporary artistic practice, and the unique role of artists, who, through their work can offer alternative ways of seeing and understanding the world around us.

A work of art represents the artist's vision of the world and, when embraced, it can be seen as a way of making a world.

About the Artist Paglen is an artist, writer and experimental geographer whose work deliberately blurs lines between social science, contemporary art, journalism and other disciplines to construct unfamiliar, yet meticulously researched, ways to see and interpret the world arouArtist Paglen is an artist, writer and experimental geographer whose work deliberately blurs lines between social science, contemporary art, journalism and other disciplines to construct unfamiliar, yet meticulously researched, ways to see and interpret the world arouartist, writer and experimental geographer whose work deliberately blurs lines between social science, contemporary art, journalism and other disciplines to construct unfamiliar, yet meticulously researched, ways to see and interpret the world around us.

In a week of seeing the art of Richard Mosse, Ibrahim Mohammed, Lubaina Himid, Moffat Takadiwa — all artists whose work references the external world in its political intent — I also go to visit the Institute of Contemporary Arts (ICA) to see Sonia Boyce's We Move in Her Way.

I think the sculpture deserves to be much more widely seen, but proclaiming that a group of more or less unknown artists are making the best abstract sculpture in the world seems a funny way of going about doing that.

Because I was academically trained and having that kind of background can be a kind of ivory - towered, siloed feeling at times, I didn't really think about painting in that way until later, in contrast to seeing that the world was happening, seeing what artists were actually doing, and experiencing all of the crossover that was going on.

Just as artists in the Age of Exploration were the only ones to offer up images grand and graphic enough to show people back home what the far reaches of the globe can offer, today we must cut through a world saturated with images and stories to see if there can still be a fresh way of expressing one's experiences on the journey, careening through the sea and back and forth from the frozen, empty land.

As nature intended Seeing the world around us in unusual ways has always fascinated artists, especially if they can include a message to those viewing the work.