Sentences with phrase «between key artists»

New Exhibition explores the blur zone between fine art and Jewelry making A new exhibition exploring the relationship between key artists and jewelry is currently being mounted at the Museum of Arts and Design in New York.

Not exact matches

It also found links between styles and noted key artists, such as Paul Cézanne, who bridged post-impressionism and cubism (arxiv.org/abs/1801.07729).

Both unexpectedly suffer a bit from lapses in engagement, but the latter track is the livelier affair, with anecdotes about farting contests between key grips, and Heffernan pointing out a couple bits in the movie's finale that are copped from Rocky III, from the LeRoy Neiman - inspired painting done by his brother, an artist, to his commissioned choice for a closing credits song, Earth Cock's «Cry of the Cougar,» that is a straight - up rip - off of Survivor's «Eye of the Tiger.»

We hope to work with Wendy again on another idea and will be sure to continue to prioritize those pre-program connections between teachers and teaching artists that seem key to successful collaborations.

She mentioned the importance of honesty from the author, the idea that communication between the author and artist is the key to successful cover design, and the point about cover designers who work primarily with stock images.

A key artist of his generation, Parreno explores the borders between reality and fiction and is known for investigating and redefining the gallery - going experience.

Simon Starling: In Speculum brings together a major new commission and key works from the artists» oeuvre that focus particularly on the site of the studio and workshop, and the relationships between art, technology, history and modernity.

The artist's life story unfolds through his personal letters, the correspondence between friends and family and key contemporary reviews.

Hoyland (1934 — 2011) is one of Britain's most renowned abstract artists and this sensitively curated show covers works produced between 1964 and 1982, a key period in the artist's career that saw variation and experimentation in the creative process and visual impact of his work.

These new, site - specific works are contextualized by sculptural assemblages composed of derelict toys, objects, and ephemera from the artist's studio, and a selection of charcoal drawings and key paintings made between 1990 and the present.

One of the most influential media artists, Hershman Leeson is widely recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology...

Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds.

One of the most influential media artists, Hershman Leeson is widely recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression.

A specific constellation of five key works that has been conceived for the gallery by the artist, and deals with contemporary ideas of time through the use of sound, touch, light and reflectivity; with each work existing in a zone between abstraction and representation.

It focuses on the radical change of direction in the artist's career between 1930 — 1969, 50 key paintings and sculptural reliefs show how Pasmore reinvented himself as one of Britain's foremost exponents of British abstract art, having previously been known as one of its leading figurative artists.

Join Laurie Wilson in conversation with Arezoo Moseni as they discuss the remarkable life and art of Louise Nevelson in a presentation that considers the key elements of the artist's work, the links between her childhood experiences and adult life as an artist, and the major influences on her evolving style.

For the first time American artist Steven Parrino is shown in a juxtaposition between key figures of his European counterparts: John Armleder, Martin Barré, Daniel Buren, Simon Hantaï, Olivier Mosset, Michel Parmentier, and Niele Toroni, on view until May 25th at the Gagosian Gallery, 4 rue de Ponthieu, Paris.

This work complements the museum's 2017 additions of a monumental painting and a signature video work by Bradford, commemorating the collaboration between the BMA, co-organizer of the U.S. Pavilion at the 2017 Venice Biennale, and Bradford, the 2017 representative for the U.S. and enabling the BMA to show three key areas of the artist's practice — painting, video, and sculpture.

A New Section: The Nineties Selected by Geneva - based curator Nicolas Trembley, galleries will revisit seminal exhibitions from the 1990s, highlighting key collaborations between dealers and artists that have had a lasting impact on contemporary art.

A key consideration for installation artists is the interaction that will take place between the work and the viewer.

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.

Among the characteristics these artists share are high - key color, layered surface imagery, use of overall and repeated patterns, stylized motifs and a tension between melancholy and the sublime.

Examining the connection between breakthroughs in photography and new techniques in painting, the exhibition will present rooms devoted to Op Art and Kinetic Art from 1960, with paintings by Bridget Riley and installations of key photographic works from the era by artists including Floris Neussis and Gottfried Jaeger.

This is one of the key questions posed by Inventing Downtown: Artist - Run Galleries in New York City, 1952 — 1965, a major exhibition that examines the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism.

Matters of Fact revisits a number of key encounters from the institutional history of the Hessel Museum of Art: between collector and artist, curator and exhibition, art and art history.

This intimate exhibition combined key images from Siskind's first forays into abstraction with the artist's own eloquent writings in order to examine the tension inherent in his work: between the artist's perception and the literal representation of an object.

Collaboration within Mirrorcity is key to this exhibition: between the artists, the works, and between the works and the space they are housed in, as many new commissions have been created less for the sake of making a new artwork than of building an exhibition which works cohesively within the Hayward — something of a maze of rooms across several levels.

Then a selection of key works by Bernd Lohaus [at Tommy Simoens, Frieze Masters Stand H15], which promises to reveal the artist's distinct connection to movements like Arte Povera, Fluxus and the practice of Joseph Beuys, inviting the viewer to consider the relationship between objects and their surroundings.

Matters of Fact revisits a number of key encounters from the institutional history of CCS Bard and the Marieluise Hessel Collection: between collector and artist, curator and exhibition, and art and art history.

In London, the Whitechapel Gallery revisits key chapters of Exhibition Histories with a conversation between artist Lubaina Himid and curator and researcher Paul Goodwin (March 3) around three seminal exhibitions Himid curated in early 1980s London: «Five Black Women», Africa Centre (1983), «Black Women Time Now», Battersea Arts Centre (1983 - 4) and «The Thin Black Line», Institute of Contemporary Arts (1985).

In celebration of the publication of Louise Nevelson: Light and Shadow, art historian and biographer Laurie Wilson discusses the remarkable life and art of one of the great sculptors of the 20th century in a presentation that considers the key elements of Nevelson's work, the links between her childhood experiences and adult life as an artist, the major influences on her evolving style, the challenges she faced to be taken seriously, and the relationship between her public face and the flesh - and - blood woman.

This exhibition, by contrast, will place key sculptures from different eras in conversation with each other in order to examine the age - old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art.

Based on a True Story illuminates this ethos through a number of key encounters: between art and art history, curator and exhibition, collector and artist, teachers and students, lovers and friends.

The key to the connection between Carol Bove's works and those by the exponents of the ZERO group rests in her artistic approach, in her fascination for the social upheavals of the 1960s and 1970s, the intellectual world into which the artist was born in 1971.

Featuring work by Josef Albers, Anni Albers, Ruth Asawa, and Ray Johnson — all of whom were at Black Mountain College in North Carolina in the late 1940s — this exhibition will explore both the aesthetic and personal dialogue between these artists during their Black Mountain years and beyond; and will include a number of works exchanged amongst the group, in addition to a selection of key compositions influenced by their time there.

While Swell draws parallels between artist and laborer, it reminds us that the artist is never outside of this cycle of expansion, and in fact, plays a key role in it.

The residency program, facilitated between 89plus and the Google Cultural Institute, and now in its fifth session, welcomes participants from around the globe to conduct research, realise new work and meet with key artists, technologists and curators.

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.

Whereas previously there had been a limited market for the work of young artists, now demand for certain key figures far outweighed supply, causing a rapidly increasing spread between primary and secondary market prices.

One of the most influential media artists, Lynn Hershman Leeson is widely recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression.

Like Life, by contrast, will place key sculptures from different eras in conversation with each other, in order to examine the age - old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art.

Key works include Andrew Erdos's Texture of a Ghost (2011), a 6 x 8 foot room featuring hand - blown glass sculptures and a video installation; Josiah McElheny's Landscape Model for Total Reflective Abstraction (I)(2004); Luke Jerram's E. coli (2010), which explores the tension between scientific objectivity and cultural perceptions of viruses, diseases, and bacteria; twelve snow globes by Walter Martin and Paloma Muñoz from the Travelers series; three stained glass light boxes by Judith Schaechter; and a recent body of work by Czech Republic - based artist Karen LaMonte that highlights the role of the kimono in Japanese culture.

In this exhibition titled «Primitive Modern», the artist presents the transition between two key projects: the new project «Neo-futurism» and recent works from the» Gesamtkunstwerk New Tribal Labyrinth», which the artist has been working on for the last four years.

The installation is a key work in the ongoing collaboration between artists La Monte Young and Marian Zazeela, who created this iteration with their «disciple» Jung Hee Choi.

Matters of Fact Hessel Museum of Art March 18 — May 27 Matters of Fact revisits a number of key encounters from the institutional history of the Hessel Museum: between collector and artist, curator and exhibition, art and art history.

Key examples of Dieter Roth's poignant «Kleiderbilder» paintings, made from the artist's own clothes, also will be on view, as will the installation «Grosse Tischruine (Large Table Ruin)», created by Dieter and Björn Roth with Eggert Einarsson between 1978 and 1998.

Anne Collier is an exceedingly patient artist, revisiting key themes again and again to refine the delicate balance between what she has termed her «forensic aesthetics» and her photographs» «psychological or emotive» content.

Lynn Hershman Leeson artist and filmmaker, who over the last three decades, has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds.

Updating and expanding on key concepts in the dialogue between Heidegger and Chillida — place, the presence of things, the relationship between art and science, etc. — this show features over one hundred works by international artists and offers a new reading of the history of abstraction over the last six decades.

His curatorial projects include Between, Beside, Beyond: Daniel Libeskind's Reflections and Key Works 1989 - 2014 (Singapore Art Museum, 2007), and his editorial projects include Who Cares: 16 Essays on Curating in Asia (2010) and Preoccupations: Things Artists Do Anyway (2008).