Sentences with phrase «between conceptual practice»

In past work Lane has at times explored the terrain between conceptual practice and demystification...

Not exact matches

This exposure leads me to note the differences between for - profit cram school notions of learning, and the non-profit practices of enhancing student engagement for broader conceptual understanding.

They build their vocabulary, acquire conceptual knowledge, learn about letter - sound relationships and the relationship between oral and written language, and practice the skills necessary to become automatic and fluent readers who can tackle the more specialized and technical texts of secondary reading (Chall, 1983; Chall & Jacobs, 1996; Jacobs, 2000).

As a whole, the installation closely comments on the transformative relationship between the decorative arts toward conceptual practices.

In a new installment of Popp's Untitled (Street Performances) and in Garden Path, Druecke's site - specific intervention, they create a physical and conceptual dialogue between their pieces and practices.

Guest - curated by former Blanton curator Gabriel Pérez - Barreiro and jointly organized with the Fundação Iberê Camargo (Porto Alegre, Brazil), this retrospective aims to make the Brazilian conceptual artist, who defines his practice as sculpting the distance between objects in pursuit of «maximally present work through minimal action,» better known in the United States.

Wilhite's practice, as he commented, is a continual juggle between the serendipitous, the conceptual, and the tangible.

It will also include rooms dedicated to the minimal and conceptual practices of the 1970s and 80s, as well as a series of new works by contemporary artists such as Tony Cairns, Maya Rochat and Daisuke Yokota that reflect the connections between the two media today.

It's more about a conceptual practice that exists in a misty middle ground between art and architecture — think of Snarkitecture, among many others, doing fascinating work in this zone.

Through conceptual battles, material lusts, and a consistent oscillation between stability and flux, Modi • Operandi highlights the artists» ability to navigate across chemical, psychological, and ritualistic practices as we re-examine the complexity of the recipe.

Although each artist belongs to and emerged from distinct cultural milieux, the exhibition explores the formal and conceptual affinities shared between the three, revealing the broad cultural influences and forces that inspire each artists» practice and bridges their work.

Using geography and a site - based practice, he works with sound, video, and installation to draw conceptual lines between sites, exploring the relationships of people to place.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

Pendleton's destabilization of authorship is a strategy that follows the structures and dynamic history of the avant - garde in the 20th century, and forms the conceptual foundation for a practice that expands from a dissolution between material and process.

Montgomery distills a unique mysticism in his works that communicates wider social messaging - bridging a gap between a search for genuine spiritual feeling and an updated «Beuysian» conceptual art practice of social sculpture.

His foremost interest is in the space between being an artist and a curator and translating the forms of parallel conceptual thinking of non-art disciplines (e.g. geography, economics, blogging) into contemporary art practice.

ORGASMIC STREAMING — ORGANIC GARDENING — ELECTROCULTURE — «a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events program of historical and contemporary works — seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text.»

A leading conceptual artist, Cildo Campos Meireles's practice is situated between the Brazilian Neo-concrete movement, which advocated greater sensuality and color in art and a more conceptually based approach.

Either as a pop cultural reference point or the conceptual link between the speculative practices of contemporary art and science fiction, this trend has seen dozens, if not hundreds, of international and Australian artists creating sci - fi - inflected pieces, with exhibitions around the world surveying their work.

ORGASMIC STREAMING — ORGANIC GARDENING — ELECTROCULTURE — «a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events program of historical and contemporary works — seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across -LSB-...]

Throughout her practice, in sculpture, print, drawing, and film, Lucy Skaer mines the conceptual possibilities of each in order to examine the shifts between dimensions, to explore the gap between object and image, and to represent the gradations between these mediums.

Between the late 1980s and early»90s, says Matthew Higgs, director of White Columns, New York's oldest alternative art space, «artists like Pierre Huyghe and Rirkrit Tiravanija rethought conceptual practice, and artists like Elizabeth Peyton and Peter Doig rethought traditional painting.

She is currently working on the final manuscript for her book The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic PractiConceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic Practiconceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic PractiConceptual Art as Comedic Practice.»

It is the first time that there will be an intergenerational and international dialogue between two important black female conceptual artists with performance - based practices.

It is the Audain gallery's mission to encourage «conceptual and experimental projects that explore the dialogue between the social and the cultural in contemporary artistic practices» and SFU prides itself on its adherence to the principles of an autodidactic education, placing an emphasis on «self - directed and individual modes of learning».

MW: The connection between the text and performance for me was through the practice of Conceptual art in the early 1970s.

Taking its name from the final line of Dante's Inferno (1314), A Riveder le Stelle, «to gaze once more upon the stars,» is conceived as a virtual conversation between two artists, separated by time, place, and practice, whose work nevertheless manifests striking formal and conceptual correspondences.

That specificity — indeed, many specificities — play out in the Blanton's first dedicated Latin American galleries, which feature focused presentations of Mexican modernism between the 1920s and 1940s, geometric abstraction and kinetic art, 1960s «Other Figuration» in Argentina, conceptual practice, and politically engaged art.

Working in a classical sculptural lexicon, Dexter Dymoke's practice explores the correlations and tensions between objects, materials and their engagement in space — he describes his work as an engagement with a discrete but rigorous conceptual enquiry into the symbolic and metaphoric role of materials.

This volume offers a compelling examination of the surprising conceptual and visual correspondences between the works of these two pivotal artists known for their innovative practices.

Richter's practice of allowing the paint to dry in between his interventions with the surface serves a more practical, or conceptual purpose, in that it grants him a fresh perspective on each sally.

Since the early 1970s his work bridged the gap between conceptual art and documentary practices, focusing on economic and social themes ranging from family life, work and unemployment, to schooling and the military industrial complex.

«There is a deep connection between mathematics and photography that originated in the invention of photography itself, a tradition that has carried into the 21st century,» says exhibition curator Klaus Ottmann, «Hiroshi Sugimoto's work exemplifies this tradition, and this exhibition reflects the artist's desire to combine a «very craft - oriented» practice with making «something artistic and conceptual».

Co-directors of DAAR, an architectural office and artistic residency programme that combines conceptual speculations and architectural interventions, their theory and practice moves between art, architecture and education.

Damian Moppett's conceptual and studio - based practice explores a complex relationship between art and cultural history.

It is the combination between the urge to perform, a personal political mission, and conceptual depth that make this artistic practice so fascinating.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

In his talk and elsewhere, Adams mentioned that the work of conceptual artist Bruce Nauman — who bounces between the mediums of neon, photography, sculpture, video, and performance — has heavily influenced his artistic practice.

This aspect of the presentation will provide a view into Camnitzer's diverse practice as a conceptual artist, and will illustrate his critical role as a global link between developments of new visual languages in Latin America and New York.

His work is a unique form of Minimal Art representing a dialogue between the practices of the American East and West Coasts, between the more conceptual Minimalism and Finish Fetish and Light and Space movement of the 1960s, its colours and textures bearing references to the Southern Californian environment and aspiring to an industrial sublime.

Adam Pendleton (b. 1984, Richmond, Virginia) is a Conceptual artist known for his multidisciplinary practice, which moves fluidly between painting, publishing, photographic collage, video, and performance.

The two new works entitled Actaeon, 2011 — 2012 and We Are All Flesh (Istanbul), 2011 — 2012 are presented in this venue, establishing an organic conceptual connection between the artist's practice and the local spatial context.

Matias Faldbakken's practice centres around the collision between the artist and the object, his works follow a precise conceptual procedure with trivial gestures of vandalism, appropriation and poetry.Inspired by minimal and conceptual art of the 1960's and 70's, with its deconstructive focus on the object and the gallery space, Faldbakken criticizes the ideology of the white cube spac

The exhibition mines the rich intersections between once segregated territories: painting and sculpture, conceptual and intuitive art practices, and the space between intention and perception.

«Sometimes, when I am really «in the zone,»» she said in an interview, «I almost feel that the gesture of making a line is the duration of a note, and it becomes a conceptual practice — the relationship between listening and drawing.»

In a sketch outlining her conception of this body of work, Walker sets up the Idioms in contradiction to Four Desires: Conceptual Art Practice, Fine Art, Technical Mastery and Mind Boggling Scale, and suggests a parodic dichotomy between the form and intention of art based on gender, class, education and skill.

While the magazine was not a work of art per se, artists such as Dan Graham, Lawrence Weiner, and Sol LeWitt published texts that, in keeping with their larger conceptual practices, blurred the boundaries between language and art.

For the public symposium held on November 19, 2016, in conjunction with the exhibition Los Angeles to New York: Dwan Gallery, 1959 — 1971 at the National Gallery of Art, Emily Taub Webb explores the contributions that Dwan Gallery made to site - oriented practices — including minimalism, conceptual art, and land art — through close analysis of several exhibitions held between 1967 and 1970.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile.

Sarah Charlesworth was a conceptual artist and photographer whose work sought to bridge the gap between fine art and a critical practice of photography.