Sentences with phrase «artists give materials»

The artist gives material and olfactory form to complex networks of ideas, imbuing her unusual materials with both political and psychological urgency.

Not exact matches

I guess I just feel like many American Christians are succumbing to the material, consumer - driven ways of the society around us and are forgetting the beauty of simplicity — to use the money that we might have spent on the latest CD or DVD from a Christian artist and give it to the food bank, use it to buy supper for the person you see out on the street or as a monthly payment to sponsor a missionary.

Maybe it'll encourage other travel writers or artists who profit off the material gained from a destination to think about giving back some of the proceeds.

For example, specular power could be now controlled both by material properties and by light, which is totally unrealistic from a physics standpoint but gives more control to artists.

Several artists pointed out the awesome value that you get when you signed up for the $ 400 annual plan, giving you access to all of the course materials TAA offers.

The material in the archives not only allows us to reconstruct the artist's daily activities and studio practice, but it also gives us a clear picture of Motherwell as an individual.

From photographs to T - shirts, drawings to souvenirs, various materials will be collected and, with the artists» guidance, given a new life as they are transfigured and placed on display.

Given the high - minded nature of the subject material in tandem with the technical accomplishment of the previous series, Wayne's creation of the Tamarind Lithography Workshop in 1960 seems a perfect compliment to the artist's passion for print as a fine art medium.

I wanted to introduce some materials that artists may not know about, like the W&N Watercolour Markers, which are a professional quality material but give the opportunity to use the medium in new ways.

Due to illness, Mallary gave up the use of resin, writing an essay about the hazards of materials for artists, and shifted his focus to other mediums including bronze casting.

Given how he sources his materials, it may be more accurate to describe Bradford as a landscape artist and, like any smart landscape artist, he not only shows us the view but what structures it: history, politics, class, ownership, power.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Given Rauschenberg's known lack of financial resources in the 1950s and his propensity for reusing canvases, it is likely that the White Paintings began to be remade and repainted almost immediately after their completion in fall 1951, a fact that testifies to the artist's understanding of these works as primarily conceptual rather than material.

In a period in which material formalism, digital space and the artist as archivist have been the dominant tropes in contemporary art, from the shiny empty Minimalism of Jacob Kassay or Jordan Wolfson's miserable stripper robot, to Camille Henrot's hyper - decontextualisation of historic artefacts, then Kjartansson's interest in real - world interaction has given his work a dedicated following (and a Performa award to boot).

The display of many series focussing on one subject from different periods in a major contemporary artist's career gives the audience a chance to see how his painting has evolved over time, including his technique, materials, and even his conception of the theme of portraiture.

Being a Viridian affiliate gives you the opportunity: • To show several pieces in a group show with 5 - 7 other Affiliates, akin to a mini-solo for each artist • To show one piece in the annual holiday group show • To post 10 work samples and a brief bio on the Viridian website • To have 10 pages of printed material in a binder in the gallery • To say you are a Viridian Artists Affiliate • $ 1,250 annually

If, in the United States, the vogue for landscape painting in the 19th century was in part a nostalgia for a lost wilderness — something one might associate with Benning today — for these artists, any sense of melancholic compensation gives way to a material reckoning with a damaged planet and the economies of extraction and industrialization that populate it.

Process artists, including Robert Morris, Lynda Benglis, and Eva Hesse, gave precedence to the means by which art was made, and the properties of the materials they selected.

Often without formal training, and facing economic insecurity and racial discrimination, these artists created profound works from both conventional art media and cast - off materials, giving visual power to a highly developed vernacular tradition that enriches an alternative to conventional narratives of modern art.

It isn't the aesthetic, technical, or material properties of a piece that give it value — it is the artist's will.

All of the participating artists were given the same commission guidelines and an identical surface material to work with.

Presenting a painting from his well - known body of work «Black Dada» as well as a work from a series layering text and images on mirrored stainless steel, Adam Pendleton's works in this exhibition give material form to the artist's engagement with a dynamic idea of history; one that is ever mutable and reflective of subjective and infinite narrative potentials.

Highlights of Broad MSU exhibitions in 2015 include: Trevor Paglen: The Genres, the final installment of the exhibition series The Genres: Portraiture, Still, Life, Landscape, featuring works by social scientist, researcher, and writer Trevor Paglen; The Broad Gift, an exhibition of 18 works generously given to the Broad MSU by founding patrons Eli and Edythe Broad; Moving Time: Video Art at 50, 1965 — 2015, one of the final exhibitions conceived by Founding Director Michael Rush exploring the development of video art from its earliest presentation to the present day; and Material Effects, bringing together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials.

In this way he creates brutal settings and reconfigurations out of simple materials; precarious spatial structures which, stable or unstable, give the artist a feel for the space.

Children have also been given the opportunity to use the Artist Kit — a captivating and original approach to the processes and materials of art making.

Throughout the decades, these artists experimented with different materials and printmaking techniques, producing highly conceptual prints that gave a definitive nod to contemporary developments in European and American painting, from the abstract aesthetics of Wassily Kandinsky (1866 — 1944) to the expressionist drip paintings of Jackson Pollock (1912 — 1956).

The Art Gallery of New South Wales has given Mikala Dwyer license to transform five of its spaces with her eye - catching installations made of every imaginable material — manufactured, found, or handcrafted by the artist.

In recent works pet carriers, tents and sleeping bags have been filled with expanding foam filler - a building material which grows out of control, giving the artist little or no influence over the outcome.

The CINTAS fellowships have given Cuban artists «the incentive to work, the hope of a viable future, the self - respect, and in many cases the material means to do well in a highly competitive society to which they had arrived in the worst possible circumstances,» wrote the late artist and first CINTAS winner Daniel Serra - Badué.

It is this compromise formation — the artist's physical aggression toward her material together with the considerable refinement of form — that gives strength to von Rydingsvard's work.

Given its function as the basis for vision, light has long fascinated artists as both a material and as a subject.

A Hawaii based artist from Northern Ireland, she makes sculptures out of old, discarded books and other materials to give them a new lease of life.

His photo - based paintings are photographs used as source material but the artist paints over them to give the painting a photographic and yet blurred appearance.

One of ten artists (including David Smith and Alexander Calder) who were invited by the Italian government to create new works for the Spoleto festival in 1962, where they were given access to materials, tools, and assistants...

Works by 36 other artists were also on the wall and gave an interesting overview of how various materials — leaves, yarn, rags, old T - shirts — can be made into art.

He eventually moved on to work for other artists, and spent four years as an assistant to KAWS; this hunger to learn from the best has given him many tools, techniques and materials that he has kept with him as he has made a name for himself.

In these experiences, Byars not only reworked his role as an artist but also the mise en scène, giving symbolic value to rigorous objects and stressing the inherent beauty of materials, including fabric, stone and especially gold.

With the foundation's money, Mr. Scull commissioned environmental works from such then - unknown artists as Michael Heizer and Walter de Maria, and also gave artists stipends, bought them food and clothes and paid for their materials.

Levine's recent exhibition at David Zwirner, however, her first at the gallery, gave one the opportunity to consider the physical facts that constitute her practice — actually, it insisted that one do so — in part because of the strange diversity of items and materials that the artist put to use.

Given the current crossover between ideas and materials, artists are more likely to engage in «hybridities» rather than singular mediumistic approaches.

The Portland - based artist will give a talk on November 4 at 4 pm to discuss his new series of glass and photo based sculptures which have been made using scratching and melting techniques to explore the material quality of process.

Nasher curators chose pieces for the exhibition that will give viewers a strong sense of the variety of materials and subjects Penone tackles along with the corresponding sense of depth he's explored with his main motif, an «analogy between the way nature creates and the way artists create.»

Extending across the entirety of the museum, the exhibition allows for free association between artists and the themes they address: at once playful and dynamic, works from Ryan Gander, Institute for New Feeling, Liu Wa, and Yangzi invite audiences to explore a wealth of possibilities through combinations of meditation and wry humor; classical mediums of sculpture and painting are reinvented by Yngve Holen and Austin Lee; insidious implications of our hi - tech society are skewered by Lawrence Abu Hamdan and aaajiao; the powers of synthetic materials over human desire are brought to the fore by Sean Raspet and Pamela Rosenkranz; and products of Internet culture are given to refined study with Gillian Wearing and Amalia Ulman.

Nari Ward's «Liberty and Orders» at Lehmann Maupin By Kathleen Massara Nari Ward is an artist concerned with how materials can give an object adding meaning.

Through abstraction, hints of architecture, and residues of bodies and histories, the artists present an unexpected fullness, packing what seems like the maximum of marks, material, and people into a given frame.

This controlled, but loose, approach to a central theme brought out some exceptional work from the group of artists invited to participate, and true to the aspirations of the exhibition gave a comparative insight to how creative minds interpret the same brief when provided with the same materials and information.

Give contemporary artists from around the world a common, diverse natural material and the creative interpretations are infinite.

kamel mennour was showing a powerful set of new works by Anish Kapoor, canvases covered in twisting heaps of material that gave the impression of human viscera, and took a poignant departure from the artist's usually fair - friendly mirrored works that so often dot the booths of international fairs.

She not only presented him with his first set of artist's materials but also gave him a series of postcards depicting the Bayeux Tapestry, a work Diebenkorn frequently cited as a shaping influence.

Presenting the radio broadcast for the first time publicly in the Freud Museum, and using visual materials, the artist will give a performative talk followed by an in conversation with Dr Caterina Albano which fill focus on Harasymowicz's art practice and methodology.