Sentences with phrase «artistic object created»

Not exact matches

I do not have the artistic talent to create objects.

Posada drew inspiration from the sugar skulls and other objects used in Día de los muertos celebrations, going on to create, through various artistic techniques, the grinning, playful calaveras that are now emblematic of the holiday.

In his artistic practice, Virtmanis creates visually and metaphorically dense drawing environments that combine relics of sentimental imagery from past eras, cryptic texts in the form of obsessive, undecipherable calligraphy, collections of found objects, architectural scale models, and the residue that is accumulated in the process of creation.

The objects and works created will explore the experience of becoming an aficionado, actualizing desire, and the social exploration of motorcycle riding as a cognitive dream space akin to the «zone» or «flow» of artistic creation.

Throughout his artistic career, Schuessler experimented with kinetic and electro - mechanical construction, creating assemblages that join disparate, everyday objects including ironing boards, light bulbs, vintage lampshades, and barstool legs.

In many ways, her work can be understood as following a conceptual artistic tradition inherited from Marcel Duchamp, Andy Warhol, and Douglas Huebler of pointing at the ironic and content - laden artifacts of our media age rather than creating new objects.

His artistic process involves collecting the forms of fragments of the city today and the found objects that create the assemblage of what is currently giving Athens its character or what has at times defined or altered it.

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

Modernist artistic movements sought to create optical art that did not refer to objects in the real world, and this desire carried over into photography.

Exhibitions and Productions Bow Arts (2017), «Rhino», London (solo show) Bow Arts (2016), «Desire Caught by the Tail», London (solo show) Wimbledon Space (2016), «The Golden Face Lift» (solo show) Dyson Gallery (2016), «Act Natural», London (exhibiting artist) Riverlight Gallery (2015), duo exhibition, London (exhibiting artist) The Rag Factory (2014), «Love Kills», London (as Artistic Director of LUXE / performer) The Chelsea Theatre (2014), «Love Kills», London (as Artistic Director of LUXE / performer) Floating Island Gallery (2014), group show, (exhibiting artist) Spill Festival (2013), «PORN», Ipswich (exhibiting artist) Departure Foundation (2013), group show, «Unperforming» (exhibiting artist) Testbed Gallery (2013), group show, «acts of 2», (exhibiting artist and curator) Testbed Gallery (2012), group show, «acts of», (exhibiting artist and curator) Freud Museum (2011), group show, Objects of Desire, London (exhibiting artist) Battersea Arts Centre (2010), Accidental Festival, London (exhibiting artist) Blue Print (2010), group show, In Time, London (exhibiting artist) perFORM (2009), group show, Triangle Space, London (exhibiting artist) Live Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performer)

The notion of jewelry as miniature sculpture is nothing new — in the early 20th century, big names like Pablo Picasso, Salvador Dali, and Max Ernst began creating wearable objects, while Alexander Calder went on to produce one - of - a-kind pieces as a part of his extended artistic practice, crafting almost 2,000 during his lifetime.

With its extraordinary collection the MAK serves a dual purpose as a conservator of significant objects and as a laboratory for research and artistic production aiming at creating social awareness for various issues of our time.

His artistic practice focusses on the same principle: the need to combine recognisable objects and, in doing so, creating something unique.

Disrupting the notion of the discrete art work or object, Mackie's practice proposes a creative process which emphasises an understanding of artistic meaning created by synthesising a string of ideas, associations, sentiments and sensations in a non-hierarchical and open - ended fashion.

We spoke to Feign Cubed curators Ed Florance and Jack Finch, «It started out as an extension of my own artistic practice, where I create computer generated interiors and set up dialogues and narratives between objects or the scene as a whole questioning the thematisation of the digital.

Collier's work can be understood as following a conceptual artistic tradition inherited from Marcel Duchamp, Andy Warhol, and Douglas Huebler, as they too worked with content - laden artifacts of our media age rather than creating new objects.

Additionally, what the show's organizers predict will be of particular interest to American audiences is the exhibition's exploration of how Iranian artists are capable of negotiating the politically charged issues of governance and faith in creating artistic objects.

Creating works in a diverse array of mediums, employing fabric, audio, video, film, installation, cultural events, and artistic happenings, Riedel often copies or recycles his own past work or art - related objects to comment on, expand, or even invert the meaning and intention of the original object or event.

Objects are modified, re-codified and forced into unusual juxtapositions, stripping them of their basic meaning and collectively creating schematized concepts and artificial arrangements that may be viewed, judged and manipulated for my own artistic and expressive purposes.

At that time, Celant gathered together artists sharing a desire to abandon traditional painting as an art form, who wished to create objects / sculptures and to question artistic practices through actions and performances.

Just as Washington creates meaning out of an assemblage of found objects and detritus, Jen Ray's works are a pastiche of imagery drawn from high and low culture, grand artistic traditions and kitsch.

In the context of artistic practice, the category of the post-internet describes an art object created with a consciousness of the networks within which it exists, from conception and production to dissemination and reception.

From the first meeting, in 1952, when Paolozzi presented a number of collages assembled from magazine clippings and other «found objects», including his (now) celebrated collage entitled «I was a Rich Man's Plaything» (created 5 years previously in 1947) their discussions centred largely around the artistic value and relevance of popular mass culture.

Yet the artistic practice of mashup — where an artist fuses a found object with another to create something new — has a long history in the arts, its roots in a variety of prominent cultural movements from the last 100 years.

The artists in this exhibition use fragments and found objects to create a new artistic reality.

The main object of his artistic practice is the black male body, and he will consider the challenges in creating art which could be considered controversial, including art about race.

Famed for creating sculptural objects and installations from fluorescent light fixtures, Flavin was one of the first artists to employ a systematic arrangement of color and light, and had a major influence on Conceptual artistic practices.

Allan McCollum, a self - educated artist who was questioning the uniqueness ascribed to artworks, created 40 Plaster Surrogates (1984), a huge series of objects that appear like paintings but which are actually blank, theatrical stand - ins for such, and point to the era's irony and humor as dominating artistic devices.

Beshty's work draws upon, subverts, and redefines traditional artistic categories to create an artistic practice built upon material qualities of the aesthetic object and its often contradictory uses.

Arte Povera rejected standards of artistic classification, seeking new approaches to making art and aiming to create a space for evaluation of the viewers» responses and the art object itself.

Elsewhere Costa has deployed coloured polythene bags (rubbish and recycling sacks from different London boroughs) to create geometrical wall pieces akin to Constructivist paintings; while in a series of small - scale paintings, he combines the methods and motifs of embroidery, collage and cartoons Quoting artistic precursors in seemingly degraded materials or formats, Costa playfully interrogates the «real value» of works of art, addressing the question of how unspectacular or even desultory materials might transmute into an art object and vice versa.

Dallas Morning News art critic Rick Brettell has described Huyghe as creating «artistic «situations» that include living organisms of various forms, objects, liquids, gases, films and more arcane media in dizzying combinations.

However, he finds more than just inspiration in the works of these artists; he does not simply copy the work of his artistic forebears but uses their work «as a pretext» («como pretexto») to create an entirely new aesthetic object.

If you are not terribly artistic, you can buy self - adhesive wallies like those in the above picture (they are like pre-pasted wallpaper) and stick them on objects like lampshades, furniture or walls to create something wonderful!