Sentences with phrase «artistic form language»

The conceptual analysis of his own artistic form language is at the centre of the abstractions of Jonathan Lasker (b. 1948); something that he performs in a particularly fastidious way in his painting Explanation of Ice to a Summer Insect.

Not exact matches

More restrictively, literature is writing that is considered to be an art form, or any single writing deemed to have artistic or intellectual value, often due to deploying language in ways that differ from ordinary usage.

I have heard from his teachers and principal at Annapolis, Maryland's Wiley H. Bates Middle School about the academic benefits of arts integration, how various forms of artistic expression (PDF) are employed to learn math and science as well as language arts.

The following are common characteristics of gifted children, although not all will necessarily apply to every gifted child: • Has an extensive and detailed memory, particularly in a specific area of interest • Has advanced vocabulary for his or her age; uses precocious language • Has communication skills advanced for his or her age and is able to express ideas and feelings • Asks intelligent and complex questions • Is able to identify the important characteristics of new concepts and problems • Learns information quickly • Uses logic in arriving at common sense answers • Has a broad base of knowledge; a large quantity of information • Understands abstract ideas and complex concepts • Uses analogical thinking, problem solving, or reasoning • Observes relationships and sees connections • Finds and solves difficult and unusual problems • Understands principles, forms generalizations, and uses them in new situations • Wants to learn and is curious • Works conscientiously and has a high degree of concentration in areas of interest • Understands and uses various symbol systems • Is reflective about learning • Is enraptured by a specific subject • Has reading comprehension skills advanced for his or her age • Has advanced writing abilities for his or her age • Has strong artistic or musical abilities • Concentrates intensely for long periods of time, particularly in a specific area of interest • Is more aware, stimulated, and affected by surroundings • Experiences extreme positive or negative feelings • Experiences a strong physical reaction to emotion • Has a strong affective memory, re-living or re-feeling things long after the triggering event

Ronny Quevedo's artistic practice is an examination of the vernacular languages and aesthetic forms generated by displacement, migration, and resilience.

He transforms conventional materials and forms through a process of working that mobilizes the languages, logics, and economies of other creative disciplines as raw elements in artistic production.

The exhibition's chronological installation brings to light intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

The exhibition's chronological installation reveals intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

Formed in collaboration with Otto Piene, a fellow student at the Kunstakademie Düsseldorf, the ZERO movement departed from the gestural language of European abstract expressionism and sought to reclaim an artistic purity from the ravages of the Second World War.

Through a precise examination of this distinct form of artistic practice in works by artists ranging from John Cage to Sanford Biggers, this exhibition provides a unique perspective on the ways in which modern and contemporary artists have used language, objects, and images to forge social contracts with their publics.

The Cinema Effect: Realisms at Caixa Forum Madrid is an exhibition that reflects on the influence and impact of cinema in constructing our visual culture, highlighting how cinematographic language has taken on various artistic forms including video and installation art.

His work — which uses studies of architecture, city planning, the writing of history, and the tradition of aesthetic forms as a language — articulates a cultural criticism that debates the function of the artistic act and of intellectuals and artists as social agents in the public sphere.

Deaf since the age of ten, Joseph Grigely has dedicated his fifteen - year artistic practice to researching the various translations and subsequent shifts in meaning that take place when music, language, and informal talk are communicated through visual form.

Morris's early sculpture tended to emphasize a banal repertoire of form and subject - matter, while attempting to investigate the role of language in artistic representation.

Mixing free - form Anglo - Gallic poetry with various artistic experiments, The Mug documents the development of a shared language between the two artists.

Each painting showcases Mitchell's mature artistic style that, over a prolific period of three decades, had fully developed into a unique personal language of colour, line and form.

Since the 1990s, Berlin - based artist Judith Hopf has mastered an independent artistic language that unswervingly manages to stake out new ground, be it in the form of sculpture, film, drawing, performance, or stage design.

A Special Arrow Was Shot In The Neck... engages artistic practices that approach Land as a language - form of kinship, affect, and decolonial resistance.

Building an artistic language, which includes altered forms of familiar animated characters, such as Mickey Mouse, the Michelin Man, and SpongeBob SquarePants, his cartoonlike hybrids are often depicted in various states of the human condition.

Each in its own way is an attempt at eking out some ineluctable truth whether that kernel of knowledge be hidden in the history of language, the development of images as objects, the failure of various artistic tropes, or the duplicity of an object that serves both form and function and neither simultaneously.

John Clement's artistic language, which entails a spirited geometry of curving forms and gaping voids, embodies an evolving interest in capturing and interacting with both viewers and the environment which has been a cornerstone of the artist's work since the 1990s.

The exhibition also presents artistic works that allow visitors to create abstract forms and structures using Apps, thereby experiencing the transformations of their own real language into a digital one.

It is important to remember that, while some programs of abstraction were imagined as a universal language of form, the broader artistic climate in America up to and during the war was marked by sentimental and nationalistic clamor for representations of «local scene,» national history and folklore.

Considering that our perception of the world is determined by digital media as a language that modifies the appearance of forms, she places her artistic practice within this conception, penetrating into the digital field, venturing deeply between its pixels and luminous vibrations.

Since the 1990s, Judith Hopf (born 1969 in Karlsruhe, DE) has been developing an independent artistic language that has consistently managed to stake out new ground over the years, be it in the form of sculpture, film, drawing, performance or even stage design.

Infusing his trademark visual and audio language, DZINE uses the sculptural and artistic form of lowriding to examine his emotional relationship with culture and beauty.

Since the 1970s, language has been seen as a means of moving from form and image - based works to a more theoretical and conceptual artistic discourse.

They go on to say that, the artist strives to create a «new form of thought» by transforming conventional language with the use of images that «at times... explosively ignite the world of language and concepts,» proving that the relationship between language and photography is central to Nakahira's artistic practice.

Oppermann's artistic method is seminal in the way that it fuses ideas from process art, concept art, arte povera and issues of participation and performance from the 1960s and»70s to form a distinctively unique artistic language.

Karla Black's artistic practice is primarily driven by an exploration into the abstract qualities of materials and form, which she prioritises over language as a way of understanding our place in the world.

My artistic practice has been motivated by an urge to account for unreliable visual experiences — measured through photography, interpreted through the language of painting, and formed in mixed media.

With an artistic practice that manifests itself variously as image, text, sculpture, and sound, Dages engages language as both form and content, pressing upon and pulling apart the symbolic nature of this familiar system until it buckles and cracks.

This selection help us to understand his progressive concept of «sculpture as form, sculpture as structure, sculpture as place» and, in addition the exhibition focuses on the key role of language in Andre's artistic practices via a large number of visual and concrete poetry series, textual collages and works on paper and, for the first time in 20 years, an exceptional group of works entitled Dada Forgeries, expounding his jocular relationship with Duchamp's readymades.

These exhibitions highlight artists who create new visions, forms, and languages to challenge political and artistic norms, sometimes moving beyond the walls of the museum or gallery.

From the Automatistes in Montreal to the conceptual art movement in Halifax, to the influence of Clement Greenberg through the Emma Lake workshops on the Prairies in the 1940s, the visual language of shape, form, colour and line that exists for its own sake without reference to external reality, changed the artistic landscape in this country.