It is a vital forum for the advanced
artistic culture of our time that offers an exceptional facility and professional support to diverse living artists while engaging equally diverse audiences in their work.
Not exact matches
Bruges was a monastic city but not (before modern tourism) a pilgrimage city, politically significant for a
time because
of its wealth and
artistic culture, but never an imperial capital or a major ecclesiastical center.
Iris Apfel's
artistic mix
of couture with flea market finds from different
cultures and eras was light years ahead
of her
time.
Still, this film's story, about a woman who rejects the role
of artistic muse by reshaping its contours in her own wickedly creative fashion, does have a ghostly outside - the - theater afterlife in the
time of #MeToo, or whatever we're calling the crisis
of conscience our
culture is undergoing with respect to gendered power and sexual violence.
Home to maritime docks,
artistic heritage and spectacular coastal scenery, there's enough to have a Hull
of a good
time in the UK's City
of Culture 2017
Upon his return to California, Arneson sought out various forms
of artistic nourishment, frequenting museums and bookstores, including City Lights, a center for Beat
culture at the
time.
The exhibition will include drawings, photographs, paintings, sculpture, ephemera, and material
culture that deal with changing conceptions
of the body over
time in Philadelphia scientific and
artistic culture.
In partnership with Marfa Dialogues / NY, Creative
Time Reports presents a panel discussion on how
culture can help visualize the impact
of climate change with artist Maya Lin, Natural Resources Defense Council President Frances Beinecke and Creative
Time President and
Artistic Director Anne Pasternak.
Nurturing the work
of artists
of all ages, from a range
of cultures and communities, and in all stages
of their
artistic career, the Colony offers comfortable private rooms, private studio spaces and ample
time to work in a quiet, pastoral atmosphere.
By using this
time period as springboard, «Art Brut in America: The Incursion
of Jean Dubuffet» at the Folk Art Museum in New York City highlights Dubuffet's passionate belief in a new art paradigm that was non-Western and non-hierarchical and championed makers
of art who are ``... uncontaminated by
artistic culture,» according to the Folk Art Museum.
The curator states: «A profound erudite on the canonical gospels, León Ferrari dedicated much
of his
time to defending his main thesis: the
artistic heritage
of Western
culture is based on promises
of penalties and torture, with Hell and Revelation as categorical imperatives
of impious humankind».
Curated by Alexandra Munroe together with co-curators Philip Tinari and Hou Hanru, the exhibition «bracketed by years marked by transformational events within China and globally, surveys the
culture of artistic experimentation during a
time characterized by the onset
of globalization and the eventual skepticism
of its promised prosperity».
The exhibition takes a nonlinear form and is organized around diverse poetic themes that cut across
time periods, media, styles, and
artistic cultures, bringing together voices from a wide range
of practices and representing diverse communities and sensibilities.
Conversation with Jorge Luis Borges, Untitled (Elysium Publications) and ULTRA jet black, for example, gather together a cross section
of the design, handcraft, literature, magazines, album covers and artworks into atmospheric pictures
of the 1960s and 1970s that incorporate the contrasts
of intellectual enlightenment, political protest movement, sexual liberation, interest in foreign
cultures and
artistic new beginnings that were
of importance at that
time.
The exhibition features new works across a number
of collection categories, including European Art before and after 1900, American Art, Asian, pre-Columbian and Native American, and African and Oceanic, and demonstrates
artistic connections across medium, style,
time periods, and
cultures.
Adrián Villar Rojas»
artistic production exists in an imaginary dimension where men face their obsolescence and eventual extinction, playing with perceptions
of time and its representation in human
culture.
This Spring Kwame Asafo - Adjei, founder and
artistic director
of Spoken Movement tackles the concept
of identity within Black
culture and how it influences and exists across space and
time.
Altmann rather explores geometric patterns inherent to stylistic modes
of pre-modern
artistic production revealing the idea that a reductive language was developed and used long before our
times and days and was integral part
of culture.
Her curatorial work has largely concentrated on re-contextualizing Indigenous
time - based media to examine the underlying philosophical complexity
of the work as well as rethinking how
culture and identity are framed by contemporary
artistic discourses.
Finally, it can be seen that Morris made the products
of his
artistic practice come to life through mastering craft techniques and the rejection
of industrial processes; Warhol, on the other hand, parodied the industrial
culture, with the activities
of the Factory and, through this, commented the modernization process
of his
time.
«Listen Darling...» reveals the strong infiltration
of the woman's voice in the art and
culture of our
time, as well as gay artists whose sexual identity is a deliberate part
of their
artistic statement.
With reference to my current project
of retelling the story
of the 2008 match in a real -
time literary narrative — I ask whether critical
artistic practice is currently the best way to represent and interrogate the diversity
of violent ideologies at work in the language
of football
culture.
At a
time when the likes
of Jasper Johns and Robert Rauschenberg were already beginning in earnest to depersonalize
artistic gestures and subject matter, Pollock, alongside Willem de Kooning, Mark Rothko, Barnett Newman, and Clifford Still, were being heralded as the vanguard
of heroic and singular forms
of artistic expression and the preserve
of art's isolation from mass
culture.
The exhibition features new works across a number
of collection categories, including European Art before and after 1900, American Art, Asian, Pre ‐ Columbian and Native American, and African and Oceanic, and demonstrates
artistic connections across medium, style,
time periods, and
cultures.
Selected from the Center's rich holdings, and augmented with key loans from Tate Britain, the British Library, and the Yale University Art Gallery, the exhibition will include a diverse range
of objects from both high art and popular
culture — many
of which are being exhibited for the fi rst
time — including albums, scrapbooks, prints, paintings, miniatures, and sculpture, demonstrating how collecting practices and
artistic patronage in India at this period constituted a complex intersection
of culture and power.
These
time consuming and labor demanding installations represent artist's visual commentary
of consumerist
culture and mass production, and show his careful
artistic observation
of the sunlight in nature.
She derives her
artistic inspiration from an experience
of several different
cultures as well as «a past filled with memories
of parents loved and lost,
of good and bad
times and the kindness
of those who helped me through.»