Sentences with phrase «artistic uses of space»

Not only is there a complex overlap between curatorial and artistic uses of space, but there is also a definite negotiation of authority.

The title of the show derives from a 1976 article, «The Apotheosis of the Crummy Space,» by Nancy Foote in Artforum, in which Foote celebrated the artistic use of spaces in abandoned buildings; her notion that such rooms in such buildings could be transformed by additions to or changes within them was, at the time, a powerful esthetic for Gordon Matta Clark's excavations of forsaken places in New York City, or by David Wojnarowicz's work a generation later.

Not exact matches

Using this biologically accurate model of how dynein moves the microtubules within the axoneme, Ingber and Reilly created a short film called «The Beginning,» which draws parallels between sperm swimming toward an egg and spaceships flying toward a planet in space, giving an artistic bent to a scientific topic.

As artistic director Peter von Bagh writes, the aim is «to make film screenings shimmer like live performances — through our efforts to guarantee the original format, the best technical care...» (1) And indeed thanks to that care, which includes live accompaniment by great musicians or the use of a large orchestra for new commissioned scores, or again the availability of new and recently restored prints within the walking space of four close venues, the experience of watching a film becomes something unique, a concert - like event.

Each volume takes me longer to read than most because of the text and panel heavy pages, which I quite like in a series that uses all that space to fill up with amusing character interaction, manga serialization education and a lot of artistic trials that will speak to any artist one way or another, especially when working to appeal to the masses at large.

Through her use of subtly articulated line and negative space, Ku references East Asian artistic traditions, while her focus on figurative representation through a predominantly female - centric subject matter, suggests a more contemporary Western perspective.

Using basic artistic principles, five Caribbean - American artists evoke a sense of identity and borders, space, and history in this exhibition co-curated with FEEGZ and Art in FLUX.

In the context of her artistic production, Strunz uses scale models to map the exhibition space and experiment with the structure of her final compositions.

For 4 - 6 weeks each artist spent time using the gallery as both a studio and exhibition space, whilst giving the public a behind - the - scenes look at the process of creation along with taking an active role in artistic and creative research.

We use the space to locate shared obsessions and to reveal (and then interrogate) aspects of our artistic practice.

The historical overview that Crimp developed with curator Lynne Cooke in their co-curated exhibition Mixed Use Manhattan (Reina Sofia, Madrid, 2010) was dedicated to New York City in the 1970s, the space of Lower Manhattan that was transformed by recession into a stage for the development of new artistic practices.

Known for sculptures that outline planes and volumes in space using the humblest of materials, Fred Sandback (1943 — 2003) was an American artist whose work is informed by a minimalist artistic vocabulary.

Zanele states, «I am producing this photographic document to encourage individuals in my community to be brave enough to occupy public spaces, brave enough to create without fear of being vilified, brave enough to teach people about our history and to rethink what history is all about; to reclaim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.»

Against the backdrop of a new Space Race and debates around the future use of inter-planetary energy resources, this group exhibition explored the enduring iconography of the moon in the artistic imagination.

The historical overview that Crimp developed with curator Lynne Cooke in their co-curated exhibition Mixed Use Manhattan (Reina Sofia, Madrid, 2010) dedicated itself to New York City in the 1970s, the space of Lower Manhattan that was transformed by a recession into a stage for the development of new artistic practices.

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.

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

Exhibiting online art is not always a cheap alternative to using physical space, but rather an artistic practice in and of itself.

«Open Plan justifies the Whitney's fifth - floor preening, demonstrating in five ways its ingenious versatility through the use of space as artistic material.»

These spaces, often used in conjunction with one another and with the adjacent Rose Auditorium, serve as a highly visible site of artistic activity consisting of exhibitions, programs, and screenings for the Cooper Union community, neighborhood and city at large.

The jurors will use the following criteria to select artists interested in leasing the space: any artists including groups, collaboratives and «creative entrepreneurs» of varying artistic disciplines who are based in the DC metro.

So Stella's use of 3 - D imaging has been driven by artistic need — part of his lifelong need, in fact, to come to grips visually with space itself — rather than any desire to be an early adopter of cutting - edge technology.

By using several artistic practices, Paolo Cavinato creates multisensorial spaces, where images of reality, mental and emotional projections merge.

Through mastery of line, color, and pattern, Jaray's work expresses intangible spaces that exist between forms, interiors, and exterior worlds, using repetition as means to artistic originality and personal discovery.

Jenny Holzer's artistic medium is words and ideas, and she uses a variety of vehicles — from stickers, posters, and T - shirts to benches, bronze plaques, electronic displays, and the Internet — to disseminate her piercingly incisive phrases in public spaces.

The Museum eagerly anticipates the artistic developments made possible through the use of this exciting new gallery space.

The department emphasises creative research in crafts in the broadest sense and in an expanded field, the use and integration of art in public spaces, discipline - specific and interdisciplinary artistic practices, and the workshop as venue for artistic activity and research.

The artistic practice of Voeed Chao Wang now makes use of subtle language to investigate the human perception of objects and space, as well as the critical relationship between emotions and its influence on perception.

The spaces of the association on the ground level are used since 1990 for various non-commercial artistic activities.

Outlining planes and volumes in space with the humblest of materials, American artist Fred Sandback's (1943 — 2003) work makes ingenious use of the Minimalist artistic vocabulary.

Whistler, whose work opened the doors to abstract painting, was also the first artist to use the exhibition space as an additional means of artistic expression as well as to intentionally act so to arise attention on his work such as in 1883, when he used art critics» harsh comments on his work as captions for etchings at an exhibition.

The exhibition title, Horror Vacui, derives from the term's first use in connection with Ossorio by biographer B.H. Friedman, who sought to describe that particular combination of Ossorio's psyche and artistic versatility, which consistently produced compositions devoid of empty space.

The work also reexamines the use of the Tarble's Atrium to define the space as yet another area within the building of artistic production.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

A group exhibition after the leaders of avant - garde art, featuring works in jewelry, textile, paint, glass and ceramic to celebrate artistic expression and use pure color as a resource for describing light, space and mood.

To this end, Cruz will use the project space not as a site of artistic production in the physical sense: instead, he will purposefully work creatively within the curatorial and display aspects of the installation of this work as an exhibition.

Chambers Fine Art supports the careers of Chinese contemporary artists using both traditional and modern artistic techniques to tackle socio - political issues, through their curation techniques in its Beijing and New York spaces.

Ronald Davis is a master of perspective geometry, space, time, color use and artistic precision.

Laboratorio Arte Alameda is a space dedicated to the exhibition, documentation, production and research of artistic practices that use and have a dialogue the relationship between art and technology.

He aimed to use Rupert as a space for discussion and critical improvement seeking for beter fenomenon of daydreaming and its relation to understanding of artistic practice.

Lecture by peer to space's director Tina Sauerländer Since the launch of HTC Vive, Oculus Rift or Google Cardboard, Virtual Reality (VR) is widely used in artistic practice.

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.

Based on the works of contemporary Southern California artists such as Larry Bell and John McCracken, students will use new, nontraditional materials as artistic mediums to analyze the effects of light, space, and surface on their compositions.

Anne Maree Barry's artistic practice uses film to address connections within contemporary urban space, uniting ideas of memory, narrative, geography, sociology and architecture.

The answer, its leaders decided, was to use endowment funds from the 2014 sale of its primary Lincoln Road space «to provide our artists with the resources they need to advance their work and elevate their artistic practice.»

A model for other towns using art to revitalize the downtown, Riverfront Renaissance Center for the Arts is a multi-use art space with galleries, gift shop and artist studios creating a hub of artistic activity.

Just as the «gold» in the title of the show plays on the industry name for the cadmium yellow used to modify the light bulbs, this exhibition explored the serialized and commodified aspects of technological development, artistic production, and the space of the gallery.

«Inserted» one after the other, the works by Manuela Leinhoß, Swantje Hielscher and Davide Cascio extended and contrasted with the exhibition's theme using sculpture, object, drawing, and collage: Thereby they included further artistic strategies that are dealing with different references to architecture and (utopian) concepts of space.

Here Cuevas, whose artistic practice makes use of painting, video, sculpture, photography and installations, uses images and objects from everyday consumption and life, which she deliberately changes through critical interventions and actions in the public space.

From Poland comes urban artist NeSpoon, whose artistic focus is on the intricate patterns of lace, and breaking its granny stereotype by using it to beautify gritty urban spaces.