Sentences with phrase «attitude in his art making»

Adopting a bold exploratory attitude in his art making practice is a freeing one for Aliotta.

Not exact matches

In CECIP's perspective, Brazil needs to foster Global Citizenship Education — with whatever denomination it takes -, since its methodologies and strategies for active learning, racism / sexism deconstruction, democracy reinforcement and glocal citizens formation make us more and more able to value and to use our great assets of joy, art, movement, ancestral sustainable values, attitudes and skills to increase our capacity to develop creative alternatives to unsustainable public policies.

Klarman's attitude to liquidation value investment closely accords with our own, and so we've reproduced below the relevant portion of Chapter 8 The Art of Business Valuation in Margin of Safety, in which he provides the basis for making such investments and outlines his approach to assessing liquidation value:

The only difference is that ProStreet tries to do it with less finesse and a lot more «street» scene attitude, but the lack of there actually being streets, traffic, cops, and brash challengers makes that hard to pull off, and Electronic Arts have disappointed Need for Speed fans in this title.

One thing however is clear: for a woman to opt for a career at all, much less for a career in art, has required a certain amount of unconventionality, both in the past and at present; whether or not the woman artist rebels against or finds strength in the attitude of her family, she must in any case have a good strong streak of rebellion in her to make her way in the world of art at all, rather than submitting to the socially approved role of wife and mother, the only role to which every social institution consigns her automatically.

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly — who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics — Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring.

And can that in any way give us some clues of the attitude to take to making abstract art now?

Such impossibility is expressed in the fact that art, through ways of its own, is capable of blocking the sensorial coordinates through which we understand and inhabit the world by bringing into it themes and attitudes that did not previously fit in, thus making it different and wider.»

The pairing characterises how divergent attitudes to making art had become in the latter half of the twentieth century, and how attempts to map the seemingly disparate artistic trajectories can reap revealing parallels in artistic thought.

Noble & Webster have created a remarkable group of anti-monuments in their eighteen - year career, mixing the strategies of modern sculpture and the attitude of punk to make art from anti-art.

Notable group exhibitions include Teen Paranormal Romance, traveling to Santa Barbara Museum of Art (2015); the Renaissance Society at The University of Chicago (2014); and Atlanta Contemporary Art Center (2014); The Los Angeles Project, Ullens Center for Contemporary Art, Beijing (2014); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit (2013); Made in L.A. 2012, Hammer Museum, Los Angeles (2012); and First Among Equals, Institute of Contemporary Art, Philadelphia (2012).

They have created a remarkable group of anti-monuments in their seventeen - year career, mixing the strategies of modern sculpture and the attitude of punk to make art from anti-art.

Among the last paintings Bacon made, the quasi-religious work distills his art and attitude in a way appropriate to the solitude of old

Recent curatorial projects include Where Three Dreams Cross: 150 Years of Photography in India, Pakistan and Bangladesh at the Whitechapel Gallery; Safavids Revisited at the British Museum; How Nations are Made at Cartwright Hall, Bradford and Manor House, Ilkley; Beyond the Page: Miniature as Attitude in Contemporary Art from Pakistan at the Pacific Asia Museum, Pasadena, California; Drawn from Life at Abbot Hall Gallery, Kendal; and the forthcoming Lines of Control: Partition as a Productive Space at the Herbert F. Johnson Museum at Cornell University, NY.

For the exhibition Another Crystal Land artists bring contemporary attitudes, technologies, and approaches to the mix of science / science fiction references, shamanistic voices, and conceptual art making that Smithson explored in his work, making the crystal their own.

These works explore a tension in societal attitudes towards the preservation of culture: the obsessiveness with which we conserve and narrativize visual art and popular culture, yet dismiss technology as somehow adversarial to art and art - making.

The participatory elements of these works also reflect my changing relationship to art, objects, and audience — this interest in access and contact signifies my desire to re-examine attitudes and assumptions of art - proper, as well as my motivations for viewing and making art.

More importantly, she developed a body of work — as the three paintings in her exhibition at THEODORE: Art make readily apparent — that stood in thoughtful and thorough opposition to the aesthetic attitudes — by - then widely upheld, institutionally sanctioned, particularly as they concerned abstraction — that emphasized particular techniques (staining), the historical necessity of flatness, and a literal (or anti-associational) mindset — all of which could be summed by Frank Stella's terse dictum, «What you see is what you see.»

But, only when all Jones» work in this exhibition has been seen does the over-riding steadying influence from his main influences of Miro and Frankenthaler come to the fore and show how these two artists (along with Matisse) have undoubtedly shaped Jones» attitude and approach to making art.