Sentences with phrase «at different forms of art»

He looked at different forms of art such as performances and temporary sculpture installations, and reached out into the community — an effort which had some unique results.

Not exact matches

Jenn Lisak, Director of Content Strategies at DK New Media, says «Content marketing strategy is as much an art form as it is a process; when working with a client on an infographic or a whitepaper, I have to pay attention to target audience, aligning the messaging with the brand, appealing to different types of learners and personality types, and whether the curated content is going to resonate with our desired buyer persona.»

This is an art gallery of sorts in which the patient forages to look at different paintings and at each painting is receiving stimulation in the form of little bubbles — it looks like little bubbles.

This has always been a great lesson - students do not know that photography is a baby in terms of art forms at 200 years old and they are really interested in looking at the images to work out why these paintings are so different before and after the invention of photography.

For seven months, I volunteered at a local children's community center that allows the kids of Lençóis to channel their emotional expression through different forms of art.

Reflecting on the platform's recent death, Gabi Ngcobo (Center for Historical Reenactments [CHR] member and faculty at Wits School of Arts in Johannesburg), in collaboration with artist Kader Attia, will contemplate how staging an institutional suicide can not only be a form of refusal but also a means to desire a different existence, one that enables the platform to haunt obsolete systems and ideologies that continue to condition contemporary life.

Using a process that recalls radical forms of art that employ detritus and everyday found materials, Jones reveals the social discrimination at play in how value is assigned to different cultures and the objects that represent them.»

The exhibition showcases a variety of approaches and artistic processes, mapping a short yet historically important period, when new universal principles to engineer the future were found at the intersection of different art forms and disciplines, including metaphysics, science fiction writing, music, and poetry.

The Montreal - based artist's second solo exhibition, Squinky Hates Video Games, is a compilation of work from the past three years in the form of ten different games, some of which were created during a stint at UC Santa Cruz's Digital Arts and New Media MFA program.

At the Morgan Library, French manuscript illumination learned from three different Renaissance breakthroughs — the great painting in northern Europe, art in the churches of Italy, and art forms confined merely to books for princes and cloisters.

With choreography specific to the structure of the building, a soundscape recorded over a month - long residency, and a narrative inspired by the centuries - old curatorial conundrum of the «Summer Exhibition», this is the London premiere of a performance which has taken different forms at a number of venues including the National Museum Stockholm, the Hamburger Kunsthalle and Birmingham Museum and Art Gallery.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

These ideas of form at the center of artistic creation had different manifestations in different art movements.

In his work at the Leeds Art Gallery, Horizon (Leeds), he made a selection of a dozen or so 19th and early 20th landscape paintings from the extensive Leeds Art Gallery permanent collection, and hung them at different heights so that a formed a single horizon, which cut across their (often ornate) picture frames.

Just take a look at exhibitions, at art auctions, fairs — different forms of abstract art appear everywhere, and it's impossible to follow contemporary art without respecting the important place abstract ideas have in today's world of the arts.

Though intertwined in practice, the pictorial and the presentational represent two different worldviews, one identified with art as form, as something made, or something its maker arrives at, while the other regards art primarily as a set of cultural signs, or a strategy that produces an artifact, something meant to be read.

He reprised the concept in different forms recently, both in his contribution for the 2010 Whitney Biennial (for which he won the Bucksbaum Award, given to one artist in the show) and in his work for the 2011 Pacific Standard Time show at the Pomona College Museum of Art.

It's not often that a parent and child become masters of two different art forms, but an exhibition at the Barnes Foundation in Philadelphia proves it's possible: Renoir: Father and Son explores the work of 19th - century Impressionist painter Pierre - Auguste Renoir and his 20th - century filmmaker son, Jean Renoir.

The radically different forms of art created by the two artists give us an extensive look at today's society and culture from distinguished angles.

«In a Different Light,» University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA, January 11 — April 9, 1995; catalogue «Articulations: Forms of Language,» Whitney Museum of American Art (organizer), Fisher Landau Center, Long Island City, NY, May 13 — June 30, 1995; brochure «Telling Tales,» The Rotunda Gallery, Brooklyn, NY, September 14 — October 28, 1995 «Face Forward: Self Portraiture in Contemporary Art,» John Michael Kohler Arts Center, Sheboygan, WI, 1995 «In the Flesh,» Aldrich Museum of Contemporary Art, Ridgefield, CT, 1995; catalogue «25 Americans: Painting in the 90's,» Milwaukee Art Museum, Milwaukee, WI; catalogue «Boxer,» Walsall Museum and Art Gallery, Walsall, UK, 1995; catalogue «XI Mostra da Gravura Cidade de Curitiba / Mostra America,» Curitiba, Brazil, 1995; catalogue «Configura 2: Dialog de Kulturen,» Erfurt, Germany, 1995; catalogue «Mirage: Enigmas of Race,» Difference and Desire, Institute of Contemporary Art, London, UK, 1995; catalogue «Glenn Ligon, Gary Simmons,» The Fabric Workshop, Philadelphia, PA, and Beaver College Art Gallery, Glenside, PA, 1995 «Word for Word,» Beaver College Art Gallery, Glenside, PA, 1995 «Pervert,» University Museum, University of California at Irvine, Irvine, CA, 1995; catalogue «fag - o - sites,» Gallery 400, School of Art and Design, University of Illinois at Chicago, Chicago, IL, 1995

On the outbreak of the Second World War she moved back to London, but had difficulty in gaining recognition by the British art establishment, possibly because of her identification with Paris at a time when the London art world was beginning to acquire its own separate and different reputation However, in 1952 she was invited by Andre Bloc, president of the Parisian constructivist abstract movement Groupe Espace, to form a London branch of that movement.