Sentences with phrase «by aesthetic traditions»

Villar's work draws from multidisciplinary theoretical sources including the works of Foucault and de Certeau, and is foregrounded by aesthetic traditions ranging from the sixties and seventies performative - based sculpture and installations by Helio Oiticica, Lygia Clark and Cildo Meirelles to the urban strategies of the Situationists and the anarchitecture of Gordon Matta - Clark.

Not exact matches

Inspired by the Lulu Frost aesthetic of perfectly balanced tradition and modernity, we created «The Lulu» — a delicious blend of classic and cool.

That's the sort of aesthetic family resemblance a lightweight like Fleischer ought to milk for all it's worth, but hear him out: Sean Penn's enterprising mob boss Mickey Cohen, he insists, isn't a cartoon bruiser in the tradition of Al Pacino's Big Boy Caprice, but a real guy whose face only looks a little off because it's been molded by other men's fists.

The series have never been as dynamic as its brother Final Fantasy, treasuring tradition by keeping core staples in all its games: deep character progression, open world maps, linear story - telling, and an aesthetic through - line that never waivers.

Deeply anchored in tradition, Ross's radical and technologically advanced Mountain photographs are influenced by his fascination with Albert Bierstadt's and Frederic Church's iconic views of the American West, which he studied while at Yale University and which he has described as «my salvation from the certain death of a narrow aesthetic inheritance — namely Clement Greenberg's formalism and the Color Field tradition I was born into.»

The hot aesthetic in painting and sculpture is inspired by tradition, the realities of modern life and spiritual revelation.

Concurrently, 6 Artists / 6 Projects (February 10 — August 29, 2015) presents new works by some of today's leading contemporary artists in Israel, whose practice resonates in counterpoint with the aesthetic traditions that accompanied the opening of the Museum 50 years earlier.

Chief among these is the megawatt debut of Leonard Lauder's Cubism collection at the Met, with his historic gift of art — 33 pieces by Picasso, 17 by his co-conspirator Braque, 14 by Léger, and 14 by Juan Gris (all valued at over $ 1 billion)-- telling the story of the still - mysterious aesthetic breakthrough that modernized the tradition of painting.

Inspired by the display structures of low - end downtown Mexico City commercial spaces, Camil appropriates the material of slat paneling found in dollar stores and department stores to create wall works from which she traces an aesthetic thread to the stylistic traditions of American Minimalism.

Where a broad narrative traditionally underpinned each project, recent works have shifted to be driven by an exploration of their materiality and the creative process through his interest in modernism and its aesthetic relationship to tribal and folk arts traditions.

-- Ajay Kurian from The Ballet of White Victimhood: On Jordan Wolfson, Petroushka, and Donald Trump empowering and unapologetic representations of Latin @x culture informed by the feminist and decolonial aesthetic traditions of the Americas

Examples include Patio Taller, a performance space and grass - roots educational center in the industrial zone of San Antón that organizes a «theater of the oppressed» to address issues affecting their community; the collective transformation of the hillside town of El Cerro, Naranjito into a living mural that is socially and artistically charged; intergenerational workshops known as Escuelas Oficios (Trade Schools) that are recuperating artisanal traditions threatened by modernization and colonialism, such as weaving, lace making, and basketry; the revitalization of blighted properties and neighborhoods through participatory urban design of community centers, public parks, urban gardens, and food cooperatives; and the aesthetic and physical reclaiming of public space through movement by artist Noemí Segarra.

Contributed by Jonathan Stevenson / Victor Kanefsky's effervescent documentary Art Bastard casts 76 - year old New York painter Robert Cenedella as a kind of aesthetic Robin Hood who robs from hallowed art tradition to give ordinary people bravura paintings that don't require them to plumb art history or some other arcane discipline to appreciate.

Inspired by the display structures of low - end downtown Mexico City commercial spaces, Pia Camil in her solo exhibition «Slats, skins and shop fittings», appropriates the material of slat paneling found in dollar stores and department stores to create wall works from which she traces an aesthetic thread to the stylistic traditions of American Minimalism.

Focusing on both present and future, moving between concern with microcosms and universes, this exhibition will resound as a polyphony of individual perspectives interwoven by different aesthetic and cultural traditions.

PEET is, in fact, probably close to a master working with clay, with enough skill to depart from tradition and embrace a deliberately imperfect, handmade aesthetic, traversing a road paved by the likes of California ceramics pioneers Peter Voulkos, Robert Arneson, and Ken Price in the 1950s and 1960s.

Professors encourage both the freedom and discipline essential to this process by embracing a wide range of aesthetic attitudes and offering flexible programs, along with a place where ideas rooted in the tradition of painting are openly examined and exchanged, challenged and refined.

From South Korea, Shin Meekyoung plays on traditions of forgery by precisely replicating rare vases from soap, whereas Hong Sung Chul aims to inspire the traditional Korean sense of community by bringing viewers together to physically interact with his works, both artists reflecting a typically Korean technically - based aesthetic approach.

Support for this program is provided by the Amphion Foundation and the Institute for Interdisciplinary Innovation (I ³), a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.

In these drawings, one can grasp the elements of abstraction that are achieved by gradually distancing and varying from an aesthetic tradition or a formal canon.

Polly Apfelbaum's (b. 1955) artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

Polly Apfelbaum's artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

Also on display will be selected works by Kenji Yoshida, whose ethereal gold, silver and precious metals on canvas unite a restrained tradition of Japanese appliqué work with that of an abstract modernist aesthetic.

Linked as much by the artists» interests in examining historical figures as by their sensitivity to myth, custom and symbolism, the works in A Tradition I Do Not Mean To Break share a rich filmic aesthetic that variously borders on the gothic, the melancholic and the opulent.

Apfelbaum's (b. 1955) artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

Deeply anchored in tradition, Ross» radical and technologically advanced Mountain photographs are influenced by his fascination with Albert Bierstadt's and Frederic Church's iconic views of the American West, which he studied while at Yale University and which he has described as «my salvation from the certain death of a narrow aesthetic inheritance — namely Clement Greenberg's formalism and the Color Field tradition I was born into.»

Thus the years 1947 to 1950 saw a painfully gradual unmaking of the relatively tradition - bound aesthetic that had garnered him such acclaim, followed by the equally slow and arduous forging of a radically new approach.

The Institute for Interdisciplinary Innovation (I ³) is a three year pilot project of the Contemporary Arts Center, New Orleans (CAC), supported by The Andrew W. Mellon Foundation, designed to provide both the context and content for the expanding aesthetic landscape of interdisciplinary performance as practiced by artists whose projects are drawn from or inspired by the rich cultural traditions of the South.