Sentences with phrase «arts economy working»

Experience within the arts economy working for a non-profit Art House films theater.

Not exact matches

Rainey comes bearing the new, academically orthodox, message that «modernism... is a strategy whereby the work of art invites and solicits its commodification, but does so in such a way that it becomes a commodity of a special sort, one that is temporarily exempted from the exigencies of immediate consumption prevalent within the larger cultural economy and instead is integrated into a different economic circuit of patronage, collecting, speculation, and investment.»

«Increasing capacity from grape to glass and investing in state - of - the - art technology is a wise investment that is not only good for Constellation Brands, but good for the local economies where we live and work.»

Without it, the sale and resale of art works - often viewed as little more than trading assets - between billionaires would contribute almost nothing to the broader cultural economy.

A panel of executive directors — including Jill Breit from Traditional Arts in Upstate New York (TAUNY), Historic Saranac Lake's Amy Catania, The Strand Center's Joshua Kretser and Aaron Woolf from The Deer's Head Inn — discussed ways that their organizations were working toward helping revitalize the local economy.

Seeking a creative fusion between computer science, management and design, it aims to produce a new breed of innovative people who understand and are able to advance the state of the art in technical, design and business innovation: innovative people prepared to work in challenging roles in organisations and ready to drive radical change in the digital economy.

Film Independent is a non-profit arts organization that produces the annual Spirit Awards and the LA Film Festival; the Spirit Awards pulls double duty as the primary fundraiser for the non-profit's year - round programs while also honoring artist - driven films made with «an economy of means» by filmmakers whose work embodies diversity, innovation and a unique perspective.

So far, three parts have gone up: Part 1 — why the art - related economy is broken Part 2 — problems with using the label «manga» for non-Japanese works Part 3 — what art school lacks in training young artists The pieces are based on Twitter conversations, and they explore a number -LSB-...]

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If gathering works that the curators believed «have attended to [the economy] critically in opposition to the singular discourse of the art market» was a claim that was hard to swallow, it did reflect the self - denying, anti-production conceits that characterize the work of many of the younger artists here.

«At Mass MoCA, I was making a comparison in that body of work between Jamaica as this kind of tourist economy that needs support from the outside to function, this dependent state that it becomes,» Ward continued, «and North Adams, Mass., where Mass MoCA and the arts really became the engine for revitalizing that community...»

Early figurative drawings and woodcuts, some done when the artist served in the Peace Corps, in Africa, bore witness to the acute sense of observation and refinement of means that still characterize his art, while pointing to the resonant economy of his mature works.

Made for the 2013 Miami art fairs, Syjuco's work came in response to the art community's unrealized talk of boycotting the art fairs in order to divest from Florida's economy, in protest of George Zimmerman's acquittal.

As Jeffrey Deitch, the erstwhile director of Los Angeles» Museum of Contemporary Art (MOCA), put it, Bradford's work isn't «art about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquArt (MOCA), put it, Bradford's work isn't «art about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart about art; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart; it's art about life... He brings the daily struggles of people left behind by the American economy into his paintings&raquart about life... He brings the daily struggles of people left behind by the American economy into his paintings».

There are lots of ways you can work within the art economy to make it happen.

Tate Modern expands the scope of the investigation to include the years pre - and post-1917 (from the first revolution of 1905 to the death of Stalin in 1953), showcasing rarely - seen posters, photographs, and other graphic works, while at the British Museum, an Art Fund supported exhibition explores how Russia and other communist states radically restructured their economies to reflect Marxist ideology.

They belong to a vibrant generation of Indian artists who work across a range of artistic media from painting, sculpture, and photography to installation and video art, reflecting on India's role as an important player within the global economy.

Points of View: Our writers on what's happening in the artworld and beyond: J.J. Charlesworth on Banksy and the case for copying and erasing; Jonathan T.D. Neil's post-November art sales analysis; Maria Lind on the Glassware and Ceramic Museum of Iran; Sam Jacob on how to pick out curtains for the Demilitarised Zone; Mark Sladen on the use of language in the work of Ryan Trecartin and Ed Atkins; Mike Watson on Masbedo's Ionesco Suite; Andrew Berardini on The Chalet, Los Angeles; Jonathan Grossmalerman on the benefits and pitfalls of the sharing economy; Oliver Basciano on ApArt, Copenhagen

In addition to encouraging the circulation of artworks through a gift economy that challenged the art world's dominant economic model, LeWitt's exchanges with friends and strangers have the same qualities of generosity and risk that characterized his work in general.

With a brightly rendered San Francisco Bay and a bent and puffy California Oak slanting across its background, this freshly revealed work also evokes the city's contemporary struggle: nurturing art, culture, and knowledge while weathering the dramatic change swept in by the tech economy.

A leading figure of the burgeoning Cuban art scene, Capote creates psychologically resonant sculptural works in a myriad of media that address a multiplicity of themes - ranging from those of the human condition (isolation, anxiety, desire, claustrophobia, obsession) to cultural identity, migration, politics and the economy.

Pittsburgh, PA. — Carnegie Museum of Art is pleased to announce that the Carnegie Int» l, 57th ed., 2018, has been certified by W.A.G.E. (Working Artists and the Greater Economy) as meeting its standards for paying artist fees.

The first theme in our Summer Session series is labor, and today we're revisiting Anuradha Vikram's essay on the so - called creative economy and its effects: «The mythology of the creative economy explains much of why San Franciscans who have pioneered this approach to work are under - invested in the arts despite some apparent affinities.

My name is obinna am from nigeria student od Abia state university i studied fine and applied art graduated 4 years ago been doing lots of are work ever since i was a kid at about 4 years old i drew lots of cartoons then when i was a kid i start my painting work when i was ten due to the economy of my country ever since i graduated i have not gotten a job yet i have lots of art work that i have done also did a presentation of art work to the governor of abuja all i want is a veiw on my art works you i have alot to offer....

A self - described «skeptical queer eco-feminist androgyne,» Steiner is a collective member of the musical group Chicks on Speed and cofounder of Working Artists and the Greater Economy (WAGE), which advocates for the payment of fees for artists exhibiting in nonprofit art institutions.

In addition to her individual art practice, Steiner is involved with several collaborative activities, including the band Chicks on Speed, the curatorial partnership Ridykeulous (with painter Nicole Eisenman), and the organization WAGE (Working Artists in the Greater Economy), which she co-founded.

The Percent for Art Program of the Office of Arts, Culture and the Creative Economy commissions exceptional and enduring works of site - specific public art by renowned and emerging artists for City buildinArt Program of the Office of Arts, Culture and the Creative Economy commissions exceptional and enduring works of site - specific public art by renowned and emerging artists for City buildinart by renowned and emerging artists for City buildings.

The WonderRoot CSA seeks to cultivate a culture of art collecting for the local arts economy and support Atlanta artists by commissioning them to create work.

The works in this exhibition all display an economy of materials to broaden the scope of what art can be and what it can hope to achieve.

Steyerl's work, which has been presented at the Venice Biennale, is part of a lineage that includes Harun Farocki and Chris Marker, blending aspects of documentary with the film essay to explore globalization, political economies, visual culture, and the status of art production.

Works by Jean - Michel Basquiat, Kara Walker, Mark Bradford, David Hammons, and Jimmie Durham do less to challenge the official narrative than to demonstrate how contemporary art frameworks have adapted to incorporate artists of color and social - justice themes within a thriving luxury - goods economy over the past 40 years.

For example, in the show at the Museum of Contemporary Cuts, two of the works on exhibit mashup Conceptual art documents with John Stuart Mill's Principles of Political Economy out of which emerge a subset of tag clouds titled Conceptual Art Miart documents with John Stuart Mill's Principles of Political Economy out of which emerge a subset of tag clouds titled Conceptual Art MiArt Mill.

The work also represents the dualities found within modern Bali: high and low economies, the abundance of indigenous artifacts and art vs. new multi-cultural influence, and modern technology's clash with primitive traditions.

Today, the Institute of Contemporary Art at the University of Pennsylvania (ICA) announced that it will be the first museum certified by W.A.G.E. (Working Artists and the Greater Economy), a New York — based activist organization founded in 2008 which advocates for artists to receive fair compensation from the institutions which contract their work.

Given the tentative state of the stock markets and the national economy, this should prove to be quite a test of the contemporary art market, although this evening sale really consists of more post-war modern masters than «contemporary» artists although it does have works by Jeff Koons (b. 1955) and Robert Gober (b. 1954).

In addition to Burn's prolific sculptural and video work, the self - proclaimed «compulsive collaborator» co-founded W.A.G.E. (Working Artists and the Greater Economy), an important advocacy group for fair economic practices in the arts, co-founded Randy, an annual trans - feminist art magazine, and is a member of LTTR, a feminist genderqueer artist collective with an annual journal, performance series, and screenings.

Recent projects include GUESTS, a series of works in response to research and interviews with migrant labourers in Berlin (shown at: Where Everything is Yet To Happen, ex-factory in Bosnia - Herzegovina, Over the Counter: the Phenomenon of Post-socialist Economy in Contemporary Art at the Museum of Contemporary Art, Budapest Journeys With No Return at Kurt - Kurt Gallery Berlin, all 2010); Clothes for Living & Dying, a major body of work and an international solo exhibition tour to Croatia, Germany and the UK (2005 — 2008); and Artist - in - Residence project at the University of Bath Social & Policy Sciences department, and the Institute for Contemporary Interdisciplinary Art (2010).

Nor do the places of art escape her scrutiny: these are loci whose financial and security systems and working conditions conform to the realities of the dominant neo-liberal economy.

And the Institute of Contemporary Art, Philadelphia has announced that it is the first museum to be certified by Working Artists and the Greater Economy (W.A.G.E)-- the organization which campaigns for artists to be better compensated by institutions showing their work.

«Camil has been creating an impressive body of work for many years now that is rooted in an interest in architecture, economy, and performance,» says curator Justine Ludwig, who unveiled Camil's first institutional survey in the U.S. at the Contemporary Arts Center in Cincinnati in early November.

The repercussions to the market if artists had the right to impugn the authenticity of their works after the fact would turn the art economy topsy - turvy, destabilizing what many already judge to be a thinly traded, tenuous ecosystem to begin with.

In one of her earliest performances (Museum Highlights), the artist posed as a tour guide at the Philadelphia Museum of Art and lead museum - goers on a verbose and theatrical tour of the museum, describing a common a water fountain as «a work of astonishing economy and monumentality» or the museum cafeteria as «regarded as one of the very finest of all American rooms.»

His little congregation makes fun of work, wealth, political economy, and the practice of art itself.

As paradigms of creative economy seem increasingly at odds with interests of art workers, queer labor proposes alternate conceptions of work.

Sehgal works entirely in such encounters, for which he refuses the label «performance art», since the «interpreters», as he calls his team of locally recruited interlocutors, are not performers; rather, they are people with a genuine expertise or interest in the market economy.

What We Share / How We Organize, Working Artists and the Greater Economy (W.A.G.E.), Bern University of the Arts, Switzerland 14.

Economies, art and otherwise, are of course worlds different now, and the point that Doig's work (like any contemporary artist's) has not had the kind of critical assessment afforded by the long view is a reasonable one.

The temptation to read Marshall's work art historically is inescapable — you encounter the mirrored service economy of Édouard Manet's A Bar at the Folies — Bergère, vernacular riffs on the elite confections of Florine Stettheimer, and the pathos of Cy Twombly's roses — but these grand citations can sometimes blind audiences to more subtle operations.

The mass - produced art his mother purchased but never removed from its corrugated cardboard protectors, for instance, appear in Aranda's work as subtle markers of social aspiration and personal economies of value.

Steiner is co-founder of Working Artists and the Greater Economy (W.A.G.E.) and MFA faculty at Bard College, Yale University and School of the Art Institute of Chicago.