Sentences with phrase «between artistic production»

Since 1988, Ben Kinmont «s project - based work has demonstrated an interest in archiving and blurring the boundaries between artistic production, publishing, and curatorial practices.

Born in Fujian Province, P.R. China in 1969, Qiu Zhijie lives in Beijing and Hangzhou, dividing his time between his artistic production, curatorial projects and academic roles as Professor and Dean of the School of Experimental Art (CAFA), and Professor at the Academy of Fine Arts in Hangzhou.

What influences do global markets have on local conditions and what are the relations between the artistic production and the changing economical, social and political changes.

Editorial cluster: Based on the relations existing between artistic production, editorial production, and their markets, the Editorial Cluster consists of four sections — art and culture Magazines from Brazil and abroad; the Bacanas Books exhibition; publishers of Artist's Books; and Book Releases — and will be presented between the Pavilion's ground floor and 1st floor.

Born in Fujian Province, P.R. China in 1969, Qiu Zhijie lives between Beijing and Hangzhou, dividing his time between his artistic production, curatorial projects and academic roles as Professor and Dean of the School of Experimental Art (CAFA), and Professor at the Academy of Fine Arts in Hangzhou.

The exhibition unites historical and contemporary materials to demonstrate connections between artistic production and scientific discovery.

We need more global exhibitions that tie meaningful, conceptual links between the artistic production in Africa and elsewhere.

Examining the relationship between artistic production and commerce, Lund uses algorithms to collect and interpret this information which is then transformed into works that reflect on current speculation and profit within the art market.

Furthermore, by creating a dialog between artists who live and work in either São Paulo and New York, the gallery aims to propose a mirroring of sorts between the cities that are home to its two headquarters, promoting encounters between the artistic production from two locations that are far apart from one another, both geographically and culturally.

Not exact matches

Between the personal reminiscences with which Anderson, Schwartzman, and Coppola infused the story, the shared trip to India around which it was built, the intermingling of the action with local contingencies, and the wealth of artistic and cinematic references from his own experience, Anderson turned The Darjeeling Limited into a virtual archive of the physical and intellectual process of its production.

The exhibition presents around 50 artistic approaches, illustrating the network of links between journalism and art, and the ways in which artists draw on media for their creative production.

Through more than 80 paintings, the fall 2017 exhibition will explore the artistic production of women in Paris between 1850 - 1900, including Berthe Morisot, Mary Cassatt and Marie Bracquemond

Meet the artist / curator: Ashley Jude Jonas By Eva Buttacavoli Photo: Ashley Jude Jonas, «Buffalo Husband» As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and -LSB-...]

«It's the perfect moment to revisit Rauschenberg's career, given that his impact continues to gain momentum as more and more contemporary artists pay homage to, and are influenced by, various facets of his creative practice and artistic production — from his technology - based artworks and the reuse of images to international collaborations that demonstrated the power of art to spark dialogues between various cultures,» stated Christy MacLear, CEO of the Rauschenberg Foundation.

With his striking and original visual language and multifaceted artistic practice, Israel makes new connections between the city of Los Angeles, art history and the cultural productions of LA of both past and present.

Will they be able to draw connections between the works of these two artists in order to begin understanding how social commentary is communicated through artistic production?

In giving way to more experiential forms of artistic production, their efforts, or the effect of these efforts is apparent in the fluidity between the disciplines of music, design, art, technology, and industry.

It includes a foreword by Serpentine Galleries CEO, Yana Peel and Artistic Director, Hans Ulrich Obrist; as well as two newly commissioned texts: Alex Kitnick has contributed an essay that draws links between the sites of production and exhibition of Guyton's work; and Flame have written about the modes of temporality within Guyton's practice.

In her artistic practice, Nova Jiang explores unexpected connections between various fields of cultural production.

Some of the issues to be expanded upon are: research as artistic production; the problematic question of agency within co-production; professionalization versus the instinctual amateur; writing as curatorial practice; the exhibition as a form of research action; expanded notions of the curatorial and the role of research models and methodologies within these; art writing as a curatorial form, and the distinction between research into curatorial practice / exhibition histories and the curatorial as in itself a mode of research practice.

Through juxtapositions of newer and older work, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne explores the arc of the artist's nearly six - decade career, a career of incredible artistic production and exploration distinguished by a subtle pas de deux between abstraction and realism, a duet that is both revealed and concealed by veils of color that wash across every canvas.

The show illustrates the full range of his artistic production and erases boundaries between different media and disciplines.

It would seem that Sol LeWitt's proto - Conceptual work of the early 1960s originated in an understanding of the essential dilemma that has haunted artistic production since 1913, when its basic paradigms of opposition were first formulated — a dilemma that could be described as the conflict between structural specificity and random organization.

As artistic practices have expanded beyond the boundaries of the production of objects, often incorporating historical context, editing and interpretation — work typically associated with the curator — we are seeing a blurring of the boundaries between the artist and the curator, and the evolution of a hybrid practice, the artist / curator.

The project focuses on artistic production between 1920s to 1960s in the USSR, ranging from Lenin's representation in works associated with the historical Russian avant - garde such as Kliment Redko's «Uprising» to such canonic Socialist Realist depictions as Aleksander Gerasimov's «V.I. Lenin on the Tribune» and Isaak Brodski's «Lenin in the Smolny.»

and are the founding directors of Mamuta at The Daniela Passal Art and Media Center, a platform that provides studios, a residency program and production labs that facilitate exchange and dialogue between artists encouraging artistic experimentation and social and political engagement.

He is the founder and artistic director of the non-profit art space SAVVY Contemporary Berlin - a laboratory for conceptual, intellectual, and artistic production and exchange that takes up the challenge of investigating the «threshold» between, as well as critically reflecting on and questioning discourses around «Western art» and «non-Western art».

A cross between art and fashion, the project temporarily removed the gallery from the appointed function of «showing» and moved it to the world of artistic production, raising questions about the circumstances, both physical and mental, of the creative process.

With its 3 per 5 meters size Paule Hammer's Dreamed World Map (Geträumte Weltkarte), painted between 2010 and 2013, attracts a lot of attention and is the starting point for a discussion with the artist about encyclopedic strategies in his artistic production.

Stingel's entire artistic production revolves around the concept of painting, and the relationship between abstraction and figuration, pattern and texture, as well as the more profound existential questions of memory, time and vanitas.

Although more than half a century has passed since the era of Inventing Downtown, many of the issues mined in the exhibition still resonate in today's art world — split as it is between the booming commercial market for contemporary art and ever more pluralistic models of artistic production, promotion, and display.

With the early Arts and Crafts movement and the Bauhaus vision of art integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspective.

Together these texts appear as a parallel production to Beshty's artistic work: they reflect on the conditions of the realization and circulation of images, undermining distinctions between media, abstraction and figuration, and proposing new aesthetic criteria for the works examined.

Indeed, by focusing on the artistic production and relationship between the artist Jess, his partner poet Robert Duncan, and their remarkable circle of friends, this exhibition presents imaginative works that catalyzed an entire generation of poets and artists.

«These artistic creations, which lie in the realm of Generative Art, do not just reinterpret the mechanical processes of traditional engraving, but being reproducible infinite times and anywhere, exemplify the evolution of mass production practices and the inevitable symbiosis between the man and the machine.

Of these, the treatment of the American galleries is the most polemical, emphasizing the close ties between American artistic production and nation building.

Invented in secret in the privacy of Oiticica's New York loft in the early 1970s, they were not shown as works of art until 1992, twelve years after Oiticica's death, when the first and third in the series — CC1 Trashiscapes and CC3 Maileryn — were exhibited as part of the first traveling retrospective of the artist's work.3 Prior to that exhibition, Oiticica's New York sojourn was little analyzed due to the perceived paucity of his artistic production between the years 1970 and 1978.4 The 1992 presentation of the Cosmococas was revelatory in this regard: not only did these quasi-cinemas demonstrate the continuity and conceptual elaboration of key aesthetic concerns within Oiticica's work (the vertiginous passage from painterly to narcotic «pigment» in service of the sensorial is surely the most striking of these animating threads), they indicated the artist's pointed engagement with the avant - garde artistic culture of New York.

CESAR GARCIA, Los Angeles, USA; Mexico City, Mexico Cesar Garcia is the co-founder and Director of The Mistake Room (Los Angeles), an itinerant platform for artistically and curatorially driven projects and publications that explore the relationship between intellectual and artistic production.

Rush has said that much of what he is interested in is «the idea of failure and how it might constitute success, and much of what I do could be characterised as the management of actual or potential disasters -LSB-...]» Through these forms the artist hopes to address the problematics of artistic territory and truth, and the boundaries between the art object, its site of production and eventual arena of display.

Laboratorio Arte Alameda is a space dedicated to the exhibition, documentation, production and research of artistic practices that use and have a dialogue the relationship between art and technology.

Her work is focused on examining the relationship between art infrastructure and artistic production, urbanity, cultural politics of food and art, and contemporary art from the Middle East and Southeast Asia.

Eleventh Havana Biennial Artistic Practices and Social Imaginaries Under the title Artistic Practices and Social Imaginaries, the 11th edition of the Havana Biennial, organized by the Wifredo Lam Contemporary Arts Center, proposed «an assessment of the behavior of the relationship between visual productions and the social imaginary.»

It quickly became a major forum for debate on contemporary art and architecture, and as such filled a gap between institutional representation and artistic production.

The aim is to highlight a new ways of support, partnership and artistic production between established institutions and cultural developments in the city of Athens.

Throughout the week - long performance and installation, workers sang Spanish ballads and read from passages about town criers in London's markets, drawing further connections between the space and artistic and industrial production.

Here the artist harnesses the power of seduction and subversive marketing to consider relationships between fundamentals of art: commodity, originality, and artistic production.

This separation between African artists who have either lived or travelled to European countries throughout their working lives and the bitter past history of this vast continent is what renders the artistic production of both older and younger artists absolutely crucial to the social dynamics of the contemporary age as an overwhelming sense of wisdom emanates from even the youngest artists included in the fair.

In the century since, production, outsourcing, interaction and appropriation have become mainstream modes of artistic expression; the shared enterprise has become a fragmented contract between the artist and other factors, not simply between the artist and the viewer.

Trained as a painter, Chapline incorporates traditional methods of mark making, sketching, and painting with rendering softwares in an artistic process that obscures the boundary between analogue and digital modes of production.

Bringing together contemporary works that engage with, respond to, or otherwise reference history, this exhibition is devoted to highlighting the ongoing dialogue between current artistic practices and earlier styles, preoccupations and modes of production.