Sentences with phrase «arts of other traditions»

Not exact matches

It is a fact that I have spent my life, for the most part willingly, under the influence of the Bible, particularly the Gospels, and of the Christian tradition in literature and the other arts.

This is the reason why historic Christianity, in the long run, always granted a place to other cultural traditions: paganism survived in law; its mythology enjoyed a series of rebirths in art.

No man has insisted on this more vigorously than Baron von Hügel, who with all his deep faith in the fullness of our Lord's embodiment of God, was yet ever ready to maintain that in other religious traditions, and likewise in science, art, philosophy, ethics, as well as in the simple humdrum experiences of daily life, God in some way and to some degree has been found and known.

Through algebra and art, critical thinking and composition, technology and Jewish studies, students are enlightened, informed, and forge an identity rooted in traditions of intellectual integrity, devotion to others, and innovation.

He cites two other finds as evidence of a long Neandertal tradition of art and ritual.

Culture means more than just a set of learned behaviors that vary from place to place, some argued; culture means history and tradition, art, philosophy, and religion — the last barrier, together with language, that separates humans from other species.

Other series by Zeng have combined art - historical traditions, often resulting in a kind of abstraction that marries Western and non-Western styles.

Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the modernist tradition.

Calligraphy, miniature painting, Sufi mysticism, and other traditions are the starting point for a new generation of artists from the Islamic world who are using the language of contemporary art to inflect their work with multiple layers of meaning.

Taken together, Knowles's art places him squarely in the tradition of Laurie Anderson, Joseph Beuys, Stuart Sherman, Paul Thek, and other twentieth - century artists who opened a large window on do - it - yourself production, interiority and the shifting registers with which an artist's voice can enunciate in social settings.

In what I consider to be the strongest mainstream of American art, (continuing the powerful tradition that emanated directly from American artists like David Smith, Alexander Calder, Willem de Kooning, Franz Kline, Mark Rothko, Jackson Pollock, Stuart Davis, Edward Hopper, Milton Avery, Marsden Hartley, John Marin, Albert Pinkham Ryder, Clyfford Still, Robert Motherwell, Hans Hofmann, and others), American artists created painting and sculpture that explored and expanded the vocabulary and boundaries of visual expression.

It is this that makes St Paul's visual arts programme seem pretty bold in its choice of artist; and it is part of its long tradition of engaging other modern artists — such as Henry Moore, Yoko Ono and Antony Gormley.

Her work helped launch a major resurgence in the Miniature Painting department in the Nineties at the National College of Arts in Lahore, inspiring many others to examine the miniature tradition.

«Drawing together various art forms (video, sculpture, painting, and live performance) across the lines of race, multiple generations and interdisciplinary canons, Blues for Smoke places the idioms of blues, and other distinctly African - American traditions, at the center of the American tableau of creativity.»

Like other encounters with «masterpieces» at the Guggenheim, a 1996 survey of abstract painting and «The Tradition of the New» from 1994, this exhibition pretty much ends twenty years ago, with Art Povera.

Scully is a great artist because, constructing a great variety of two and three - dimensional works from a narrowly restricted choice of forms and media, he shows, in opposition to almost all other contemporary painters and sculptors and, also, to most art writers, that there is life, still, in this now seemingly distant modernist tradition.

Best known for large - scale interiors, landscapes, and portraits featuring powerful black figures, Marshall explores narratives of African American history from slave ships to the present and draws upon his deep knowledge of art history from the Renaissance to twentieth - century abstraction, as well as other sources such as the comic book and the muralist tradition.

In other words, Sikander's visual vocabulary seeks to put the traditions of the East into conversation with a Western - dominated contemporary art world.

Colonized by Portugal (and other empires including France and the Netherlands) during 1500 to 1822, the production of art (in the Western perspective) in Brazil was always in dialogue with European classical traditions.

Invoking past and future in a critique of the present, these paintings, photographs, sculptures, videos, and other works document observed, current realities while referencing the aesthetic traditions of 19th - and 20th - century art.

Time seems to flow in cycles, and so on the eve of 18th Street's 25th anniversary, we meet again at a crossroads: one path illuminated by the hot flame of the avant - garde and DIY traditions of Los Angeles; the other by the cool, neon glow of the global contemporary art market.

Therefore, the artist's works are, on the one hand, evocative of the Western art historical canon, while on the other, they upend engrained traditions as they vividly investigate the grey area between so - called «objective» history and subjective memory.

In its deliberate intermingling of folk traditions and what we might call art music, «Steel Hammer,» a finalist for the 2010 Pulitzer Prize in music, is very much in keeping with the other offerings at the 12th Bang on a Can Summer Festival, which begins Wednesday at Mass MoCA.

Connie Fox, a descendant of America's abstract traditions, has exhibited her work in museums and galleries across the country, among them the Parrish Art Museum in Water Mill, NY; the American Academy of Arts and Letters, NY; Weatherspoon Gallery at the University of North Carolina in Greensboro; the University of Florida in Gainsville and at numerous other venues.

Other topics included an influential 1983 article by Sid Sachs (University of the Arts)-- who was in the audience — on whether there was such a thing as a Philadelphia Imagist tradition; a College Art Association conference chaired by curator Judith Stein (also in the audience); the number of artists who taught and lived in both Chicago and Philadelphia (particularly Ree Morton and Rafael Ferrer); and the equal representation of men and women among the Chicago Imagists.

The international nature of Deng Guo Yuan's art is thus evident early on in his career, and his early twenty - first century work with ink painting is also to be understood in this vein: as a continuation of a major tradition in Chinese art with an eye toward innovations infused with the concerns of other nations and cultures.

This series approaches the patriotic art tradition that for centuries artists like Robert Rauschenberg, Jasper Johns and David Hammons, among others, have followed with the intent of canonize events, aesthetics and American Culture.

I am particularly proud of the dialogue established between Manchester Art Gallery's collection and my works, as well as the interaction between the city's history and traditions and other realities of entirely different provenances — such as those specific to my homeland.

In the tradition of other spaces founded and run by artists, Art + Practice is dedicated to imagining a new model for how contemporary art functions in our communitiArt + Practice is dedicated to imagining a new model for how contemporary art functions in our communitiart functions in our communities.

As his works expanded to exhibitions and murals throughout Europe, the Middle East, and the United States, Revelis began to integrate more complex traditions of art history and aimed to reach a broader political treatise by moving the intention of his work outside of himself and towards others and their relationships with — and concept of «home.»

Institute of Contemporary Art, University of Pennsylvania, Philadelphia, The Other Tradition, Jan. 27 — March 7.

They — along with many other artists whose works could easily have fit in this exhibition — are vernacular cosmopolitans of a kind, moving in - between cultural traditions, and revealing hybrid forms of life and art that do not have a prior existence within the discrete world of any single culture or language.

Filmed in a building that once housed the French National Museum of Art and Popular Traditions, and shot on three separate occasions coinciding with Halloween, Valentine's Day, and May Day, in this piece the emptied museum becomes a sort of Gormenghast castle populated by a stealthy cast of characters derived from both urban and historic folklore, including, among others, the grim reaper, E.T., and witches.

The grand special exhibition on occasion of the inauguration of the enlarged Kunstmuseum Basel will map the medium's extraordinarily dynamic evolution: the classical idea and form of sculpture grows more flexible and abstract as some artists integrate the trivial stuff of everyday life into their art or blur its spatial and conceptual boundaries, even as others return to the figurative tradition in an effort to set the genre on a new solid foundation.

Among the most significant over the past several decades include The Pop Object: The Still Life Tradition in Pop Art (2013), Lucian Freud Drawings (2012), Georges Braque: Pioneer of Modernism (2011), Robert and Ethel Scull: Portrait of a Collection (2010), Picasso's Marie - Thérèse (2008), Manolo Millares (2006), James Rosenquist: Monochromes (2005), Lucian Freud: Recent Paintings & Etchings (2004), Cézanne Watercolors (1999), Alberto Giacometti (1994), Robert Rauschenberg Drawings: 1958 - 1968 (1986), Lyonel Feininger (1985 - 1986; this exhibition traveled to The Phillips Collection in Washington, D.C.), Edgar Degas (1978), Claude Monet (1976), Henri Matisse (1973) and many others.

Contributed by Jonathan Stevenson / Victor Kanefsky's effervescent documentary Art Bastard casts 76 - year old New York painter Robert Cenedella as a kind of aesthetic Robin Hood who robs from hallowed art tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciaArt Bastard casts 76 - year old New York painter Robert Cenedella as a kind of aesthetic Robin Hood who robs from hallowed art tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciaart tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciaart history or some other arcane discipline to appreciate.

Imagining the Political Subject», Secession, Wien 2013 «I knOw yoU», IMMA — Irish Museum of Modern Art, Dublin 2013 «The Butterfly Image», Mudam, Luxembourg 2013 «Only here», Art and Exhibition Hall of the Federal Republic of Germany, Bonn 2012 «Reactivation», 9th Shanghai Biennial, Shanghai 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «Storytelling as Craft», Kentucky Museum of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of Modern Art, Dublin 2013 «The Butterfly Image», Mudam, Luxembourg 2013 «Only here», Art and Exhibition Hall of the Federal Republic of Germany, Bonn 2012 «Reactivation», 9th Shanghai Biennial, Shanghai 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «Storytelling as Craft», Kentucky Museum of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of the Federal Republic of Germany, Bonn 2012 «Reactivation», 9th Shanghai Biennial, Shanghai 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «Storytelling as Craft», Kentucky Museum of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of Germany, Bonn 2012 «Reactivation», 9th Shanghai Biennial, Shanghai 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «Storytelling as Craft», Kentucky Museum of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/0Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/09.

His 2009 exhibit at the MCA Chicago, Temple Exercises, built of wooden boards recycled from a factory in Chicago's post-industrial heart, encouraged their view in the light of Modernist Art and other cultural traditions which depend on scrap for survival.

Despite the innovative new platforms Sussman and Sanders have contrived to reinvigorate this 80 - year - old tradition, it seems more like a desperate cry than a solution to the systemic problems the Whitney Museum of American Art, and, of course, all other major art institutions in the U.S., now faArt, and, of course, all other major art institutions in the U.S., now faart institutions in the U.S., now face.

The exhibition venue thus becomes the starting point for his works which on the one hand examine the institutional, social and structural framework of art in the tradition of Institutional Critique, and on the other go through a multitude of new, expansive narrations.

State University, Atlanta GA Juror Choice Award, Ninth Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ 2004 Self - Inflicted, Fe Gallery, Pittsburgh PA Flow, Sun Trust Plaza Gallery, Atlanta GA Rampant, Fe Gallery, Pittsburgh PA Painted Realities, Lamar Dodd Art Center, LaGrange GA 2003 Film / Video GA, MOCA GA, Atlanta GA Animation Impulse: Video Art and the Generated Image, Cheekwood Museum of Art, Nashville, TN Animation Extravaganza, 27th Annual Atlanta Film Festival, Atlanta, GA Juror Choice Award, Seventh Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ Looks Good on Paper, Second Edition, Spruill Gallery, Atlanta, GA 2002 Georgia Triennial, City Gallery East, Atlanta, GA Georgia Triennial, Museum of Arts and Sciences, Macon, GA 2002 Georgia Triennial, Telfair Museum of Art, Savannah, GA Georgia Triennial, Albany Museum of Art, Albany GA Wild Life: The Other Tradition, Polk Museum of Art, Lakeland FL 2001 Art and Science International Exhibition, National Gallery of Art, Beijing, China Hardware, Eyedrum, Atlanta, GA 2000 Do It, Atlanta College of Art Gallery, Atlanta, GA Cute, Georgia Museum of Art, University of Georgia, Athens, GA 1998 Boy Toys, Nexus Contemporary Art Center, Atlanta, GA Scale, Relatively Speaking, Art in General, New York, NY 1997 My Big Back Yard, Art in General, New York, NY

Reflecting on the «experience of the other» she uses performance art as a method of social inquiry, exploring different aspects and countenances of Cuban life, culture and traditions.

The group show, whose title is inspired by a song from the 1970s funk band the Ohio Players, looks at issues of society, sexuality and black womanhood — in works that are variously inspired by folk art traditions, Afro - Caribbean folklore and myriad other artistic practices.

This mask soon will be displayed in the museum's Hellenistic gallery, where it joins other works of art that explore the complex interactions between local traditions (such as burial customs) and Graeco - Roman artistic conventions.

The project is driven by Romero's interest in establishing parallels between the tradition of iconoclasm and Spanish political heterodoxy in general, on the one hand, and radical avant - garde art practices, from Malevich to the Situationists, on the other.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

The artist looks to the use of geometry in Islamic art as opposed to figurative forms seen in other artistic traditions.

Group exhibition celebrating the iron pour tradition in sculpture and extending to other areas of contemporary art practice.

If the MTA continues its tradition of not running the L train during Bushwick Open Studios, which has been three years out of five in the art event's existence, an enterprising Brooklynite might do well to set up a weekend campsite for those coming from other boroughs, or even people like me just coming from south Brooklyn.

This is how Katz explains his approach: «When you're working with the tradition of art, you're usually painting like the paintings you've seen; your vision is other people's vision.