Sentences with phrase «artistic production through»

Luxembourg & Dayan will present In The Making: Artists, Assistants, and Influence, a group exhibition that surveys the field of artistic production through a series of juxtapositions that reveal discrete dialogues between artists and their assistants both current and former.

Merve Ünsal's past research has traced artistic production through the format of the lecture, letter writing and verbal collage.

She is interested in tracing artistic production through the lecture format.

NEON supports artistic production through its annual award scheme.

«Transformer» continues Gortner's exploration of artistic production through works that incorporate both original and found elements.

Curated by Executive Director Fairfax Dorn, the exhibition seeks to examine the metaphysical aspects of artistic production through a selection of artworks that challenge the use of material and space, formalism and abstraction.

Not exact matches

Through ballads and swing from the 1940s we are transported to a hotel on the Lincolnshire coast for Trevor Nunn's first production as artistic director of the Theatre Royal Haymarket.

This artist will make a significant contribution to the artistic landscape through creative, skillful collaboration on productions by local arts and cultural agencies.

Through more than 80 paintings, the fall 2017 exhibition will explore the artistic production of women in Paris between 1850 - 1900, including Berthe Morisot, Mary Cassatt and Marie Bracquemond

Moving beyond conventional ideas of the African continent and its «counterpart», «the Western hemisphere,» this year's Focus will provide a glimpse of international artistic production from contemporary African viewpoints: emerging curators, artists, galleries and art spaces that connect scenes and markets through global networks.

Artists are encouraged to expand their artistic vision through the use of live performance, resulting in truly original productions.

Through geographic and chronological investigation of human experiences and material cultures, Tang creates luminal areas to recontextualize and compare systems of cultures in his multi-disciplinary artistic production that include video, sound, and graphic and sculptural installation.

In the future we look forward to placing their art in historical context through exhibitions, spotlight publications, and special showcases at key art fairs, and to educating curators, collectors, and the public about the place these artists have in the larger scheme of artistic production.»

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 SAF Production Programme furthers this goal by broadening the possibilities for the production of art in the MENASA region through the support of innovation and excellence in artistic practice and the encouragement of risk - taking and experiProduction Programme furthers this goal by broadening the possibilities for the production of art in the MENASA region through the support of innovation and excellence in artistic practice and the encouragement of risk - taking and experiproduction of art in the MENASA region through the support of innovation and excellence in artistic practice and the encouragement of risk - taking and experimentation.

Now, we will come full circle in mounting this significant retrospective in Sharjah, a city that was not only a site of intense artistic production for the artist, but also a place he greatly enriched through his teaching and community activities.

Will they be able to draw connections between the works of these two artists in order to begin understanding how social commentary is communicated through artistic production?

It posits a transnational generational formation of cultural producers aligned with leftist movements and ideologies — specifically, those whose politics are anti-capitalist, anti-imperialist, and decolonial — and whose artistic production is shaped by social transformations brought about through neoliberalization and the influence of recent subaltern - popular movements.

Through nearly 50 works by 12 artists, the exhibition documents the activities and artistic production of the Rat Bastard Protective Association (RBPA), an inflammatory, close - knit community of artists who lived and worked together in a building they dubbed «Painterland» in the Fillmore neighborhood of mid-century San Francisco.

Drawn from the local collection of Margaret and John Gottwald, the exhibition explores black artistic production and patronage at mid-century through work once associated with the Barnett Aden Gallery (1943 - 1969), a pioneering and influential private gallery located in Washington, D.C. — among the first with an integrated stable of artists and patrons.

Although this led to his disappearance from the New York scene, Mallary's material experiments of the 1950s and early 1960s form a compelling instance of wider compulsions surging through post-war artistic production in America and Europe.

Residents are provided with administrative, curatorial, and professional support to explore and expand the scope of their artistic practice through research, dialogue, and production of new projects.

Building from the transformation of artistic labor through industrial production initiated by minimalism and conceptual art, the panel will bring together artists, critics, and theorists to consider histories of fabrication up to the present day.

Through juxtapositions of newer and older work, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne explores the arc of the artist's nearly six - decade career, a career of incredible artistic production and exploration distinguished by a subtle pas de deux between abstraction and realism, a duet that is both revealed and concealed by veils of color that wash across every canvas.

The Borusan Contemporary Art Collection is constantly expanding through acquisitions and new commissions that support artistic production.

With the assistance of Location One staff, they are attempting to expand their artistic vision by experimenting with new ideas or means of production and sometimes through novel collaborations with other artists.

It also includes a two - day symposium (March 5 - 6) examining the diverse practices of artists, curators and collectors from Africa and the Diaspora through a series of panel discussions and video screenings, looking at new global phenomena in contemporary artistic production.

Their shrimp boat, «F / V Discovery,» acts as the project's nexus — contextualizing themes of labor, discussion and artistic production examined through shrimping, University of Houston curriculum, special events and a regional artist exchange.

Jeff Robinson: Dummy Vexillography is the second exhibit at STNDRD, a gallery project curated by St. Louis artist Sage Dawson and temporarily located within the entrance of the Luminary, a space that facilitates artistic research, production, and presentation through residencies, studios, and exhibitions.

Founded in Beirut in 1993, Ashkal Alwan is committed to the production, research, and circulation of contemporary artistic and intellectual practices, through initiatives such as Home Works: A Forum on Cultural Practices (2002), a multidisciplinary platform bringing together artists, writers, thinkers, filmmakers, and choreographers, for a public program of exhibitions, panel discussions, film screenings, and performances, as well as the Home Workspace Program (2011), an annual tuition - free art - study program.

Through unconventional artistic media and methods of manifestation, the artist investigates the concealed exploitations of social energies in contemporary economy and cultural production.

Through the work of these artists and a series of scholarly essays, the catalogue aims to examine different operations of the generic image in culture, namely its anonymous circulation and editorial uses, its adaptability and reproducibility, its technical processes of production, its claim to copyright and artistic license and its tendency toward abstraction.

Through her frequent use of millimeter paper for her artistic practice, Yang discovered that certain color or dimensional schemes are not included in regular graph paper production for the general stationary market.

Constantina Zavitsanos works with affect, economy, and personal histories, and seeks to resignify reproductive labor through artistic production.

The gallery is an initiative that speaks to ideas of collectivity and potential propositions through artistic production.

Nonetheless, it is an important part of his artistic production because photography, unlike any of his other art practices allows him to reflect on his experiences and think through his own sense of self.

Through a series of reference points ranging from torture methods employed during the Spanish Civil War to repetitive music used to brainwash victims in Stanley Kubrick's seminal film Clockwork Orange the exhibition looks at the manner in which artistic production has migrated from an aesthetic pursuit to the soft - coercion of government and institutions power.

Funding will also indirectly support the production of his first artist book, a comprehensive survey that demonstrating the impact of his work, artistic methods, and my practice within the history of contemporary art through critical essays and supporting documentation.

This weekend, a collective of artists from Brooklyn and Mexico will be exhibiting their work through ACME Brooklyn, a project that seeks to explore «the artistic production of a specific -LSB-...]

Consequently, the exhibition presented different cultures, with unique modes of artistic production and intertwined them through participation, exhibition location and content.

URRA is an Argentine project whose objective is to favor artistic production and to generate spaces to encourage the reflection and research of contemporary art through different cultural projects.

Since collecting the keys in March, we've drawn together a membership through this continuing dialogue about the presence of artists in the city and ensuring that artistic production is accessible to the people who visit and live within it.

The programme encourages experimentation through research, productions, collaborations, skill - sharing, or reflecting on the performative aspect of artistic practice, which could include live art but is not restricted to it.

Rush has said that much of what he is interested in is «the idea of failure and how it might constitute success, and much of what I do could be characterised as the management of actual or potential disasters -LSB-...]» Through these forms the artist hopes to address the problematics of artistic territory and truth, and the boundaries between the art object, its site of production and eventual arena of display.

The Sharjah Art Foundation Production Programme broadens the possibilities for international artists to produce art in the MENASA region through a commitment to support excellence in artistic practice by encouraging risk and experimentation.

Through a wide - ranging annual program of exhibitions supported by the production of original publications, editions, and related events, TYPOLOGY is an open platform for diverse curatorial and artistic practices and perspectives, and a forum for the exchange of ideas on exhibition - making as a way to engage and inform audiences from all walks of life.

In five decades, the Goodman Gallery has played a vital role in forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent.

Funded by the Hong Kong Arts Development Council (HKADC) and private donations, it seeks to establish and maintain a platform for artists and other art practitioners to realize their vision in relation to their immediate and extended communities through the production of artistic works, exhibitions and curatorial projects as well as through dialogue, critical analysis, publications, research, education and cultural exchange.

Through my work as an independent curator, at the Liverpool Biennial in the United Kingdom and subsequently as the director and later co-curator of the Werkleitz Biennale, I was able to explore different approaches to artistic and cultural production and also to analyze curatorial and institutional models under a variety of cultural, social and economic conditions.

This enables the selected artist to express and reveal an aspect of their practice that would not necessarily be visible through their artistic production.