Sentences with phrase «artists took it upon»

Simultaneously alluding to femininity and challenging art historical canons, the participating artists take it upon themselves to provoke and embrace the complexity of the medium.

Not exact matches

In 1965 Paul VI developed upon this by referring to artists as people «who are taken up with beauty and work for it».

With Naughty Dog occupied withUncharted 4 and folks clamoring for more The Last Of Us, Deviant Artist Floordan has taken it upon himself to please 3D platforming fans with his own HD remake of Jak II.

Artist Anne Pogoda takes it upon herself to show us how Snake can pull off just about any look.

As artists, we take upon ourselves the ability to fire up people's imaginations.

I take the misspelling of Pollock to reflect upon the speaker, not the artist.

Croatian artist Mladen Stilinovic's installation comes across like a mini-retrospective, his whip - smart, often tongue - in - cheek drama and politics taking the form of pieces like a pink banner that reads «AN ARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praartist Mladen Stilinovic's installation comes across like a mini-retrospective, his whip - smart, often tongue - in - cheek drama and politics taking the form of pieces like a pink banner that reads «AN ARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praartist's practice.

The establishment, founded by artists, was built upon the principles of engaging experimentation and risk - taking through exhibitions, programming, and support of working artists.

In this sense, Kippenberger can be seen as an artist who was ahead of his time, taking upon himself all the tasks that artists today take for granted, including curating exhibitions, writing texts, self - promotion, and working globally, collaboratively, and interdisciplinarily.

Approaching his subject matter both musically and visually, Tangled Up takes the form of an exhibition and visual album comprised of sixteen audio tracks with accompanying videos, all written, composed and performed by Linzy, with the exception of the spiritual «Down by the Riverside,» which the artist performs, calling upon the racial histories of the United States.

But upon entering the show, it quickly became clear to me that the reason for all the hubbub has less to do with a widespread affinity for the groundbreaking work of the 88 - year - old Japanese artist than it does the burning need to take a selfie against what has become the social media backdrop of the moment.

These items take the form of material fragments, sketches, abandoned projects, or remnants of research: the collateral things either left behind or brought to ISCP upon arrival, foregrounding each artist's stay or marking its trace.

«Another Lower East Side artist from the»80s; probably hung out with Keith Haring,» was my first take upon viewing the graffiti - like images from «Raymond Hendler — A Deeper Poetry» at the Quogue Gallery, on view through November 23.

Nice and fair takes on each artist, although I'm surprised that the similarity to Carrol Dunham's work wasn't touched upon regarding the Christophe Robe painting.

Later, upon the encouragement of his wife, Ileana Sonnabend, Castelli took on Rauschenberg as well, and those two artists together went on to usher American art away from Abstract Expressionism and toward Pop art, Minimalism, and Conceptual art.

Included art objects will be a bulletin board that charts quotations and images of the Biospherans and visionaries of the project, a number of small gouaches from photographs taken by the artist of areas surrounding the Biosphere that have fallen derelict, a video tour of Biosphere2, portraits of the male visionaries (John Allen, Ed Bass, and Buckminster Fuller) of Biosphere2, and a multi-panel stenciled quote from Buckminster Fuller that encapsulates the contradictions inherent in a project that is the product of a single mind imposing its will upon a group:

According to the Derry - born artist Willie Doherty, himself twice shortlisted for the Turner prize, it is «ludicrous that a town spending that amount of money would let it last just four months and not take the opportunity to build upon it».

Primarily drawing upon the legacy of Conceptualism, these ten contemporary artists surveyed — Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek — comprise more than 70 works, while demonstrating the innovations and new formats that the photographic medium is taking today, specifically in reference to studio and still life photography.

Slated to be installed within a traffic island at the eastern end of Thorndale Avenue, where the City meets the Lake, Ashland will allow people to sit, recline, relax, and unwind, taking in the magnificent view of the water and sky upon a piece of sculpture that was created by collaboration between artist and invasive beetle.

Since collectors have demonstrated a willingness to buy just about anything by their favorite artist, a number of unscrupulous individuals have taken it upon themselves to issue quite a few colored vinyl records by famous artists.

Artworks that take the artist as their subject, often expanding upon the traditional self - portrait's intention to capture the artist's likeness by exposing his or her inner state, body, or minutiae of daily life.

With a focus upon the 20th and 21st centuries, this exhibition takes a contemporary look at an age - old fascination, seeing sex through the eyes of over 70 artists, film - makers, activists, photo - journalists, musicians and magazine editors.

With a focus upon the 20th and 21st centuries, the group exhibition BODYPOLITICX takes a contemporary look at an age - old fascination, seeing sex through the eyes of over 70 artists, film - makers, activists, photo - journalists, musicians and magazine editors.

Two new works from the artist's recent residency at the Bemis Center for Contemporary Art in Omaha, Nebraska, build upon the artist's 2015 series and take its aesthetic further.

Taking its name from the final line of Dante's Inferno (1314), A Riveder le Stelle, «to gaze once more upon the stars,» is conceived as a virtual conversation between two artists, separated by time, place, and practice, whose work nevertheless manifests striking formal and conceptual correspondences.

Lew exercised cautious optimism: «In these times of escalating strife and partisanship, artists have taken it upon themselves to bridge divides.»

Featuring more than two dozen works spanning 30 years, Cindy Sherman: Once Upon a Time, 1981 — 2011 at Mnuchin Gallery, New York, takes as its focus three of the artist's most acclaimed series: the Centerfolds, the History Portraits, and the Society Portraits.

The positioning of the figures must have been decided upon fairly early in the production process as a photograph of the work, taken when the figures were roughed out and still bore the artist's pencil markings, shows an arrangement close to the final composition (comparative illustration).

The exhibition titled «Inventory» reflects upon the artists constant process of cataloging, collecting, and taking inventory of ephemera that he incorporates into his paintings.

Furthermore, she takes it upon herself to insist on complexity, subscribing to the standpoint of German artist Anna Oppermann: «Complexity must still have value somewhere in this world».

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

Multidisciplinary visual artist Kim Frohsin created the arcane series, Reliquaries, from a variety of media — acrylic paint, glazes, ink, collage, pencils, and dry pigment — built upon pinhole photographs taken by the artist between 2011 and 2013.

In the mid-1950s after several solo shows, Hamilton took up teaching in Newcastle - Upon - Tyne during which time he pursued a research project on the French contemporary artist Marcel Duchamp, a figure much admired by Hamilton.

Frieze London is upon us, with over 1,000 artists represented across the 164 galleries taking part in the fair's 13th edition.

The artists featured in this show — Elmgreen & Dragset, Ian Hamilton Finlay, Roger Hiorns, Jenny Holzer, Matthew Day Jackson, Christian Jankowski, Justin Matherly, Paul McCarthy, Amalia Pica, and Thomas Schütte — have taken this tradition of civic sculpture and expanded upon it.

Hearing that the 603rd Engineers Camouflage Battalion was taking many young artists at this stressful time, Kelly desired to be assigned to that company upon entering the United States military service in 1943.

100 artists including Jeremy Deller and Roger Hiorns have taken it upon themselves to redesign an iconic image in the newly published The Roundel: 100 Artists remake a Londoartists including Jeremy Deller and Roger Hiorns have taken it upon themselves to redesign an iconic image in the newly published The Roundel: 100 Artists remake a LondoArtists remake a London Icon.

Upon entering U.S military service in 1943 Kelly requested to be assigned to the 603rd Engineers Camouflage Battalion, which took many artists.

The Studios» residency program is community - based and built upon the hope that visiting artists will take inspiration from Key West's rich artistic past and present, and will engage with — and be inspired by — the remarkable people and culture that surrounds them.

Having no previous experience in performance before transitioning to the field in the 1960s, the artist reflects upon taking workshops with choreographers such as Trisha Brown, Yvonne Rainer, and Steve Paxton.

The participating artists seem to take up the directives Theodore Roethke expressed in his 1953 poem «The Waking,» to walk softly upon the ground and «learn by going where [they] have to go.»

It was an immediate and critical success, lavished upon by art critic David Sylvester: «This artist has the gift synonymous with creativeness of being able to be surprised by what the rest of us take for granted.

Since 2010, Hancock has also begun to incorporate the figure of the artist himself into his creative universe, allowing him to intervene, take ownership and comment upon the narrative, and also remain outside of it.

This form (known as «art corporel» in France) is exemplified by the Serbian artist Marina Abramovic (b. 1946), whose most famous performance - «Rhythm 0», first performed in 1974 - involved her passively enduring a range of acts performed upon her by the audience, whose members cut her, pricked her with thorns, tickled her with feathers, took off her clothes and even pressed a loaded gun to her head.

In 1906 the critic Philip Hale remarked that he perceived a «fine insanity» in the work of Marsden Hartley, by which the artist took him to mean «a strong insistence upon the personal interpretations of the subjects chosen.»