Sentences with phrase «artistic approaches using»

Recent artistic approaches using Instagram as platform and / or medium are for example Amalia Ulman's Instagram performance «Excellences and Perfection» from 2014, Richard Princes disputed appropriation of portrait photographs «New Portraits» from 2015 and Steven Shores Instagram series «American Surfaces», that originated as a book in the 1970s and was continued as a digital variation on Instagram.

Hansons characteristic work results directly from his artistic approach using polyester resin, casting figures from live models in his studio, paying attention to every detail, from body hair to veins and bruises.

Not exact matches

With every detail crisp, a very artistic use of a narrow depth of field and lots of shots of each item buyers are instilled with confidence — no wonder Caroline's shop is approaching 400 sales!

Tom Hooper's film uses that sort of staid, tasteful artistic approach to depict the extraordinary life of Einar Wegener.

Whether the teacher uses music or some other artistic form, it is important to find a novel, inviting, and meaningful approach to act as a catalyst for open dialogue and discovery.

We strongly encourage experimentation, the use of traditional and contemporary approaches, innovation, and the dialogue between photography and other artistic mediums.

Using the physical street as a canvas for expressing their ideas, Faile is part of a global movement that has been embraced by audiences for its popular approach to artistic and creative expression.

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

Showcasing more than twenty important and cutting - edge Chinese, Japanese, Taiwanese, and Korean artists and artist groups, this exhibition presents the work of artists who skillfully use contemporary approaches to express their respective cultural and artistic heritages.

This approach has honed my artistic practice, which uses complex compositions, vivid colors, and contrast to explore the blurred boundaries of realism and abstraction.

Studying augmented reality with Digital Arts Professor Carla Gannis last spring, the students explored various approaches for using AR as an artistic and research - based medium.

Each of the sculptures in «Floresco» was created using 12 - inch bright common spikes, the largest nail commercially available, and demonstrates the range of artistic approaches Bisbee uses to give shape to his work; «A nail, like a line, can and will do almost anything,» explains the artist.

Appropriating the name of a popular brand of French notebooks, the group's members use this construct to approach the notion of artistic identity itself as being the equivalent of Warhol's Brillo Box or Duchamp's Fountain — a preexisting object that can be transformed by recasting it in a new context.

«White Noise I» approaches contemporary modes of artistic production more directly: Noa Gur uses her face as a stamp, as a printing machine to produce a series of quasi-portraits on paper towels.

With their collage of quotidian materials, their vertical orientation reminiscent of skyscrapers (albeit in miniature), and their use of a sculptural idiom, the columns are typical of Genzken's approach, for although her oeuvre is heterogeneous, architecture, sculpture, modernism, and the readymade remain touchstones of her artistic practice.

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.

Prior to beginning the Winter Workspace, Nick's artistic approach stemmed from the use of previous observations and experiences within the built and natural world.

Her artistic approach has somewhat some reminiscence of Arte Povera using materials such as tissue paper, wax.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

This means using a collage - like approach, with each gallery telling an independent story, enabling competing and even contradictory relationships to emerge instead of trying to present a linear progression of artistic movements or relationships that can never, in fact, be more than an arbitrary abstraction.

One of the reasons why I believe passionately that humanities scholars should engage more closely with artistic practice is that such a dialogue will foster a more creative and critical approach to the use of digital methods by humanities scholars.

Using experimental colours and an unmistakeable playful approach to the traditional method of painting, Paricio has always set out to solve conceptual problems, to pay homage to great artistic figures of the past and to examine and question the role of the artist through his bright and dynamic canvases, layered with meaning.

These recent pieces, moreover, are arranged alongside older work through an artistic practice that uses assemblage and composing — a composing of images, forms, sensations, and references that is entirely representative of Tritz's approach in general.

With a witty approach to the current state of computerized reality, even in artistic expression, Salavon layers and manipulates visual data into abstraction by the use of computer software of his own design.

In the same topological vein but with a more explicitly scientific approach, Alyson Shotz's works try to visibilize phenomena like gravitational waves or quantum interweaving, while Agnieszka Kurant uses the surprising levitation of her meteorites to suggest the convergence of the artistic value of air (beginning with the iconic Paris Air bottled by Marcel Duchamp in 1919) and its property value in the current economy.

Approaching painting as an experience in immersive subjectivity, she uses a spray gun, distancing the artistic act from the hand, and stylizing gesture as a propulsive mark.

His approach to living as an artist can be compared to Gerhard Richter, who used another strategy to question and complicate simple notions of artistic identity — moving between types of painting.

Featuring a diverse range of work spanning several years of her artistic career, the exhibition highlights Alshaibi's conceptual approach to photography and the layered and collapsing signs that are integral to her distinctive aesthetic, particularly her use of the body as a metaphor for spatial and temporal transgressions.

Sound and the human voice are also significant aspects of his artistic approach, be it using his own voice or employing actors to perform unsettling and humorous scenarios.

For Experienced As an experienced fashion designer or Fashion executive, I would like to use my artistic and creative approach in making and managing designs that would suite the new as well as old generation people.

For Experienced As an experienced Interior designer professional, I would like to use my artistic approach in designing and managing the designs produced by me and other interior designers working under me.

Hypnotherapeutic Approaches using visualization, artistic metaphors, and music that will help children and adolescents dissociate from physical or emotional trauma, fear, or pain with the intention of reconnecting them to their inner resources, abilities, and sense of self - appreciation.