Sentences with phrase «between artistic work»

Performed by an actor whose delivery embodies the internal struggles of a faceless character and filmed using a visual vocabulary inherited from professional keynote lectures, motivational speeches, and the now ubiquitous TED talk, Garcia Torres's video speculates on Smithee's fraught biography and explores the complex relationship between artistic work and its audiences.

Not exact matches

My work is concerned with the continuum between healthy human development and refined artistic expression.

But even as the town gropes toward a peaceful coexistence between the entrenched artistic underground and the thrill - seeking newcomers, the vintage, urban picture - book luster of Wicker Park continues to shine on, undisturbed, through the winter solstice, thanks in part to the Christmas lights that adorn a majority of the three - flats until early spring; these semipermanent, luminous fixtures work as a convenient simile for the spark that ignites the inexhaustible pride of those who come to dwell in the hood.

Dosage to me is an artistic creative and also co-creative thing between myself and the person I have the honor to work with.

Shannon, an often intimidating actor who has made himself almost ordinary for this role, is playing a government functionary who's torn between following through on a long - running work project and going with his wife to California to support her artistic pursuits.

, working from what the opening card admits is at best a kinda - sorta true story, seems as torn as Danny is between his artistic impulses and his hard - wired attraction to bland, audience - friendly material.

As many struggling artistic folk may find after taking three weeks off work to attend 60 films in between bed - ridden bouts of the flu, I have been exhausted and poor in equal measure and have spent much of the last week and a half resting and working so that my sad, sorry bank account doesn't feel too ignored.

From the point of view of someone who started working in theatrical features when computers were completely absent, to now 45 years later when they are omnipresent, Murch will explore the constants that nonetheless remain after the «bones» of celluloid and sprockets have dissolved away, and examine the salient technical, artistic, and philosophical differences between the post-production of a theatrical scripted film and a feature - length documentary.

In order to get a good book cover you needed a good artistic director (usually working on salary for a publisher but not always) and a good cover artist (usually freelance but not always) with a good relationship going on between each other and with higher - ups.

«We're working hard to maintain the right balance between the artistic integrity of the original story while addressing the fan feedback we've received,» Muzyka writes.

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.

It focuses on Scott's figure works, both on canvas and on paper, created between 1954 - 1973 when he was arguably at the height of his artistic career and propelled onto the international art stage.

The four works stand as a monument to the spectacular artistic collaboration and friendship between the legendary dancer and choreographer, Paul Taylor, and Robert Rauschenberg — two towering cultural -LSB-...]

Join us for a conversation between Thomas Bayrle and Massimiliano Gioni, Edlis Neeson Artistic Director, on the occasion of «Thomas Bayrle: Playtime,» the first major New York museum survey of work...

With highly interactive elements, Chen's works foster an exchange between artistic space and the observer.

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.

The «Portal» works, which were made between 1966 and 1969, are the foundation of Redstone's artistic practice.

Arranged in reverse chronological order, Electronic Superhighway begins with works made between 2000 — 2016, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966.

Additionally, the show weighs his exploration of his experiences and influences in his chosen homeland of America, while simultaneously emphasizing his theories and work, which made him an especially significant artistic mediator between the continents.

These works will sketch out the intersection between art and the world at large that defined the 1990s and continues to shape artistic expression today.

By challenging the rules and boundaries set by artistic institutions, Céline Condorelli (b. 1974), an artist who works between London and Milan, creates large - scale, movement - inducing structures which outline issues of separation, isolation and discrimination.

Sometimes there can be something uncomfortable about being excited by work that directly relates to an artist's disturbance; or, at least, there's a conflict between the content and its artistic presentation.

«Dr. Barnes viewed artistic expression as an endless conversation between works of different times and places: he collected the work of contemporary artists of his time and hung them alongside African sculptures, Old Master paintings, and Navajo textiles to highlight connections and influences among disparate works of art.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

In this exhibition, key works by Bacon and Warhol will engage in an intelligent dialogue with those by some of the many different painters who have worked on the borderline between these two artistic languages, developing their own vocabularies with an emphasis on the manipulation and transgression of images, creating direct and indirect actions and narratives.

Join us for a conversation between Thomas Bayrle and Massimiliano Gioni, Edlis Neeson Artistic Director, on the occasion of «Thomas Bayrle: Playtime,» the first major New York museum survey of work by the German artist.

«In Kiefer Rodin, the relationship between the work of Anselm Kiefer and Auguste Rodin is fascinating, as is the synergy between their artistic practices and philosophies.

For others of this era, the communication gap between city policy and artist initiatives proved insurmountable at the time: Fugitive Art Projects sought physical space in 1999 to cultivate exhibitions, studios, and artistic dialogue, but eventually closed their Fugitive Art Center venue in 2005 after struggling to work with building codes and facility issues.

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-...]

He acquired and exhibited works according to stylistic affinities and continuities, reflecting the connections between various artistic expressions, past and present.

The images, of greatly varied disposition (representation, abstraction, concept, line, photograph, text, repurpose) are either improvisational variants of their ongoing body of work, products of their individual processes, or a visual membrane of sorts between their artistic practice and the world around us.

New Orleans» location at the geographic fringe of the continental United States, in close proximity to Cuba, Haiti, and Mexico, has generated a unique blend of distinctions between artistic genres and vernacular traditions, and each of the artists in the exhibition has produced work that in some way challenges many of these time - worn distinctions.

Inspired by the spoken, written, and performed introductions Conrad regularly used to help frame screenings and presentations of his works, many of which are incorporated into the exhibition itself, it shows Conrad to be an unparalleled innovator in the mediums of painting, sculpture, film, video, performance, and installation, tenaciously working to challenge the boundaries between artistic categories.

Jessica Jackson Hutchins» sculptures, wall - works, installations, prints, and works on paper expose the intimate dialogue between her upbringing and artistic intuition.

«Racconti Immaginari» is an anthology featuring over a hundred works — between photos, objects, set designs and installations — carefully selected by the eclectic photographer to represent his artistic evolution.

Gonzales - Torres» works exist as fleeting interactions between the work and the viewer, and are an extension of the aesthetic of the 1960s, when happenings and conceptual art favoured the artistic idea rather than the aesthetic object.

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 addition to Automobile Tire Print, Rauschenberg created numerous works between 1951 and 1953 that suggest a nuanced understanding of prevailing artistic conventions and reflect a desire to simultaneously claim a place among and distance himself from his immediate peers.

One of the objectives of his work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting them to construct a powerfully visual narrative.

The exhibition features works produced between 1964 and the present, in order to situate these artists» practices as in part a reaction against the misogyny present in the art world in the 1960s and 1970s, as well as to celebrate the fortitude and dogged artistic activism that these artists have shared for nearly five decades...

The main characteristics of his artistic expression include citation, duplication and fragmentation, which are used as expedients for staging the distance between a finished model for making the work a «theatre of evocation.»

The sumptuously illustrated accompanying catalogue, published by Yale University Press, explores portraiture as a site of artistic experimentation, in works that shift the genre from one based on mimesis to one stressing symbolic associations between artists and subjects.

In its scope, and encompassing of works produced from varying artistic standpoints, the collection also emphasizes the connectedness of art objects to specific contexts, and as such their mediation between private and public discourse.

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.

Blurring the lines between the ultra-cool New York underground and the international pop scene, Deborah has infused all of her work with an exquisite artistic sensibility.

Her artistic practice has recently focused on producing works that incorporate found fabrics as well as new textiles, which the artist stretches on wooden frames to create organic and almost painterly compositions that oscillate between transparency and density, foreground and background.

Between historical significance and the work of some of today's most important artists, Prospect 3 has a unique rhythm that is part of the experience created by Artistic Director, Franklin Sirmans.

Although the two women never met — Lockhart only discovered Eshkol's work during a 2008 trip to Israel — the project is conceived as a two - person exhibition, highlighting a fascinating artistic convergence between past and present, as a contemporary artist activates the work of a modernist composer through her archive.

The aim is to create a space for dialogue between artists working in a variety of modes and media, to catch a glimpse of current artistic practice in South Africa and elsewhere.

In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960 — 1985 will give visibility to the artistic practices of women artists working in Latin America and US - born women artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporary art.