Sentences with phrase «as an art form continues»

Not exact matches

I remember that it made me passionate about film in a summer that was full of forgettable movies, and it continues to further my love for the art form as I watch it again and again.

Together they not only forged one of the most iconic films of the last decade (Drive), but continue to push the envelope of film as an art form into bold and exciting new territory, with each collaboration.

Yet if our love of the form is in the imagination it inspires within us, listening to the numerous, and wondrous scores in James Horner's repertoire will only let us soar as we hear the many scores that could have been, while continuing to influence the art form he loved so much.

Today, Sophia continues her journey as a healer in multiple forms of art to spread wisdom on our solutions and the power we all acquire.

As we get deeper into life and gaming as a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurreAs we get deeper into life and gaming as a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurreas a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurred.

According to ArtForum, Russian intrigue continues in Ghent: «A panel that was formed to investigate a number of allegedly fake Russian avant - garde works in the exhibition «From Bosch to Tuymans: A Vital Story» at the Museum of Fine Arts Ghent in Belgium — including pieces by artists such as Kazimir Malevich and Wassily Kandinsky that were on loan from the Dieleghem Foundation, a nonprofit founded by the Brussels - based Russian businessman and art collector Igor Toporovski — was dissolved only hours after meeting, reports Simon Hewitt of the Art Newspapart collector Igor Toporovski — was dissolved only hours after meeting, reports Simon Hewitt of the Art NewspapArt Newspaper.

The exhibition, the artist's first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology.

For this new installation, Violette continues to mine a rich art historical terrain in which the materials and forms associated with Minimal and Conceptual Art become reactivated as theatrical platforms of performative decart historical terrain in which the materials and forms associated with Minimal and Conceptual Art become reactivated as theatrical platforms of performative decArt become reactivated as theatrical platforms of performative decay.

Altogether, Grabner's exhibition renders contemporary art and, more significantly, contemporary culture as one that continues to be submerged in abstract, oversized forms that rely more heavily on their physicality than the depths of their intellectual value.

That artists continue to pursue the process of working with spaces outside the bounds of the classic painting — «opting out of the painting,» as Laszlo Glozer observed about twentieth - century art — shows the explosive force of this groundbreaking art form.

As Hollywood continues to reckon with widespread allegations of sexual assault and toxic masculinity, L.A.'s art scene has offered some solace in the form of the binary - smashing exhibit «Engender.»

And, of course, this is an art history that is still being written, as graffiti and street art are both venerable and vital art forms that continue to grow and nurture new generations simultaneously.

Continuing the art historical quest to locate the unknown within material form, his portraits and abstractions serve as poignant evocations of the sublime.

Private support is essential to ensuring that the Wexner Center continues to thrive as an incubator for creative expression across all art forms and a generator of educational initiatives serving all ages.

Continuing his practice over many years of challenging any hierarchy based on the material form in which his art exists, Weiner has devised a temporary tattoo and limited run poster as part of the exhibition, which are both available in the gallery bookshop.

«A longtime fixture in the New York art scene, Susan Weil has always maintained an adventurous attitude toward material and form even as she continued to paint self - assuredly in both abstract and representational modes.»

While the techniques of the discipline continue to inform his work, in recent years he has increasingly turned to site - specific installations, such as the Roof Garden Commission at the Metropolitan Museum of Art in 2013, or the landscape intervention at the Aga Khan Museum in Toronto that forms part of the new institution's inaugural show.

Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blArt Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blart and entertainment increasingly blur.

Continuing P.S. 1's long standing tradition of commissioning in - situ projects such as the «Vertical Painting» series (1997), the first incarnation of this new program will focus on wall paintings, an art form that has a long history in New York City.

Despite a new world, in which everyone with an iPhone is arguably a photographer, Ms. Cotton said she continued to believe in photography as an art form and in the importance of the center as a place to explore it.

«Pousette - Dart never wavered in his commitment to painting, but transformed this art form and thereby helped to launch a new generation of artists, such as Ai Weiwei, who fluidly move between media,» Homann continues.

One of the first museums to recognize photography as a legitimate art form and establish a photography collection, the San Francisco Museum of Modern Art (SFMOMA) continues to spearhead the scholarship and presentation of photography with three upcoming exhibitioart form and establish a photography collection, the San Francisco Museum of Modern Art (SFMOMA) continues to spearhead the scholarship and presentation of photography with three upcoming exhibitioArt (SFMOMA) continues to spearhead the scholarship and presentation of photography with three upcoming exhibitions.

As an examination of the uses of narrative in contemporary art by women, the exhibition featured works in drawing, painting, video and new media reveal the continued power of storytelling in art today, and the myriad forms it takes.

Questioning the effects of a rapidly evolving culture on «our sense of self and identity as well as on art's form and larger social role» — as the exhibition claims to do — has been a concern of varying degree within the arts since the early modern period and will likely continue to have new permutations every generation.

While Hong Hao continues to work with found objects,» AS IT IS,» his recent solo exhibition at Beijing Commune, deals with the physical forms in a more straightforward manner, creating an interesting dialectic development of both the vocabulary and concept of his art.

Some of Pensato's titles — Get Me to the Other Side, Going to the Other Side, On the Way — reference this constant traversal between «low» and «high» art, a division that stays surprisingly potent as new high / low art forms continue to evolve.

She states «the use of female imagery as form and content, and the use of the medium of clay, continue to be devalued by the art establishment, if not by the culture in broader terms.

Taking over two floors of the Museum's Zaha Hadid - designed building, Moving Time: Video Art at 50, 1965 - 2015 traces the impact various artists have had on the art form — from its birth in the 1960s with artists Andy Warhol and Nam June Paik, to the performative work of influential women artists such as Joan Jonas, to the lesser - known works of international emerging artists continuing to push the medium forward todArt at 50, 1965 - 2015 traces the impact various artists have had on the art form — from its birth in the 1960s with artists Andy Warhol and Nam June Paik, to the performative work of influential women artists such as Joan Jonas, to the lesser - known works of international emerging artists continuing to push the medium forward todart form — from its birth in the 1960s with artists Andy Warhol and Nam June Paik, to the performative work of influential women artists such as Joan Jonas, to the lesser - known works of international emerging artists continuing to push the medium forward today.

Bemoaning the divide between the art world and artists, he continues: «alot of people are interested in art as a form of entertainment or as a one - liner.

If the Ground Should Open... is part of the official Ireland 2016 Programme and is presented as part of an exciting on - going initiative, New Art at IMMA, proudly supported by (External) Matheson, which allows IMMA to continue to support artists» vital work in a strand of programming that recognises and nurtures new and emerging talents, new thinking and new forms of exhibition - making.

In the late 1920s Hepworth and Moore continued the tradition of direct carving, as opposed to modelling, and were drawn to «primitive» art forms.

We need your support to preserve and expand the educational and artistic legacy of Black Mountain College, and to continue serving as a public gathering space to view and discuss art in all forms.

From lard and felt installation by Joseph Beuys and the introduction of live animals into the gallery space by Jannis Kounellis to neon light sculptures and video installation of Bruce Nauman and Tracey Emin presenting her bed as art, this movement has taken many forms and it continues to evolve and change still.

As such, Rama continued to exist in her own bubble outside of the popular sphere, and yet her late 1960s and early 1970s works, with their use of unconventional art materials and craft forms, can certainly be seen through the lens of the movement.

Although she is unheralded as the source, the influence of Schapiro's subjective approach to forms of decoration can be identified today in a remarkably diverse group of artists who continue to find inspiration in her embrace of artistic practices outside the art historical canon.

The exhibition associates this idea of «offshore art» with past developments in Land Performance and Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smithsart» with past developments in Land Performance and Conceptual Art of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert SmithsArt of the 1960s and 70s — a time when artists moved the creative process beyond the studio — and forms new dialogues with contemporary artists whose processes continue the interdisciplinary and site - specific practices that began with pioneers such as Bas Jan Ader, Dennis Oppenheim, and Robert Smithson.

After all, the use of drawing, which is often considered the lowliest and therefore the most democratic of art forms, speaks volumes about Mr. Kentridge's quest to shed light on our common cultural ties — as well as the repressive regimes we as a species continue to allow to come to power.

If the Ground Should Open... is part of the official Ireland 2016 Programme and is presented as part of an exciting on - going initiative, New Art at IMMA, proudly supported by Matheson, which allows IMMA to continue to support artists» vital work in a strand of programming that recognises and nurtures new and emerging talents, new thinking and new forms of exhibition - making.

Painting: For and Against A panel discussion regarding the continued relevance of painting as a contemporary art form With Liam Everett, Andrew McClintock, K.r.m. Mooney and John Zurier.

This commission is presented as part of an exciting on - going initiative, New Art at IMMA, proudly supported by Matheson, which allows IMMA to continue to support artists» vital work in a strand of programming that recognises and nurtures new and emerging talents, new thinking and new forms of exhibition - making.

History painting in the grand manner continued to be the most prestigious form of art, though not the easiest to sell, and Reynolds made several attempts at it, as unsuccessful as Hogarth's.

This exhibition is presented as part of an exciting on - going initiative, New Art at IMMA, proudly supported by (External) Matheson, which allows IMMA to continue to support artists» vital work in a strand of programming that recognises and nurtures new and emerging talents, new thinking and new forms of exhibition - making.

Conceptual art as a movement dispersed after the 1970s, but its emphasis on idea over form continues to influence the majority of contemporary artists working today.

During the 1940s Davis gravitated to a purer form of concrete art, often using pen - and - ink drawings as preliminary studies, although he continued to include lettering and traces of adverts in his pictures.

Leiter (1923 > 2013), born in Pittsburgh, had moved to New York in 1946 intending to be a painter — in the early days he exhibited alongside de Kooning — and although he continued to paint throughout his life, he became engrossed with the creative potential of photography as an art form.

Alongside his art practice, his passion for music continued as he formed another band Poetics, with fellow CalArts students John Miller (Art MFA 79) and Tony Oursler (Art BFA 7art practice, his passion for music continued as he formed another band Poetics, with fellow CalArts students John Miller (Art MFA 79) and Tony Oursler (Art BFA 7Art MFA 79) and Tony Oursler (Art BFA 7Art BFA 79).

He wrote of his art as «a quest for reality; not the obvious surface reality of outer forms but the related continuing realities of all the sights and sounds, sensations, dreams, memories... the intuitive visions that are part of the daily life of all of us.»