Sentences with phrase «century of artistic production»

Curated by Salwa Mikdadi with Barjeel curators Mandy Merzaban and Karim Sultan, the exhibition covers a century of artistic production in the Arab region and its diaspora, beginning from the late 19th Century to the late 20th Century.

The exhibition covers a century of artistic production in the Arab region and its diaspora, beginning from the late 19th Century to the late 20th Century.

Quisqueya Henriquez explores the history of art itself, looking back along the past century of artistic production where she pieces together familiar references from along, and beyond, the Western canon.

Curated by Abdellah Karroum, Mathaf's Director, and Fatma Mostafawi, Curator at Mathaf, the exhibition includes works that range from René Magritte to Wael Shawky and Shirin Neshat, spanning nearly two centuries of artistic production across three continents.

Not exact matches

Rubins, who has been working with metal trash since the 1970s, has been a forerunner in the recent artistic focus on trash — the inevitable third step in the 20th century dialectic of production and consumption.

The broad term modernism refers to artistic production beginning in the late nineteenth century that broke with the past and reflected the industrialization, urbanization, and social change of the future.

Spanning 150 spectacular years of artistic production, A Century in Crisis offers the first systematic exploration of modern and contemporary Chinese art.

The exhibition surveys the remarkable artistic production of women in Paris during the second half of the 19th century, a time of great social, cultural and artistic change, revealing the breadth and strength of their achievements.

The first decades of the 20th century were among the most fruitful periods of artistic production of the modern era, especially for the still - fledgling art of photography.

At the same time, she refuses to treat the work of black artists as an isolated phenomenon, instead drawing on a keen attention to cross-cultural aesthetics and a highly developed sensitivity to the formal properties of art objects to integrate their work into the broader artistic production of the United States in the twentieth and twenty - first centuries.

Curators Daniela Lancioni and Ilaria Bernardi sought to present his work in the light of an artistic production that's emblematic of nearly half a century of cultural and artistic evolutions.

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.

A Century in Flux aims to make a selection of modern works accessible for study by researchers, scholars, artists, curators, and art enthusiasts to encourage a greater understanding of the region's history of artistic production.

Over the last decade, a number of artists have turned their attention to artistic figures from the last century who explored the production of hybrid forms, challenging artistic genres.

106 works are showcased, amongst paintings, drawings, sculptures and installations that trace different profiles of the Afro - Brazilian artistic production from the 18th Century until today.

The exhibition «Ourouba, The Eye of Lebanon» at the heart of BEIRUT ART FAIR 2017 focuses on artistic productions and acquisitions of the 21st century and features installations, paintings, photography, video and sculptures from major Private and Institutional Collections throughout Lebanon.

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at the Museum of Latin American Art, curated by Dr. Tatiana Flores, offers a reading of twenty - first century artistic production of the Caribbean that employs the archipelago as an analytical framework.

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.

This beautifully illustrated catalogue, published in conjunction with the exhibition 1900: Adornment for the Home and Body, captures the extraordinary richness of artistic production in the late nineteenth and early twentieth centuries.

During the beginning of this century, his career became an amalgam of musical performance production and various artistic collaborations, all of which culminated in 2003, when Deller received the Turner Prize for Memory Bucket, a documentary about Texas.

Charles Le Brun, painter and designer who became the arbiter of artistic production in France during the last half of the 17th century.

This changed in the twentieth century when many artists set out to redefine the parameters of art and artistic production.

Describing the exhibition, FRONT Artistic Director Jens Hoffmann said, «Over the course of the year leading up to the opening, FRONT will work to examine the local, regional and global influences that have shaped a 21st century American city located outside the traditional centers of cultural power and production in the United States.»

We consider it mainly in connection with the history of artistic practice in the 20th and 21st centuries, when the expansion of industrial media and technologies incorporates within itself an interrogation of the new conditions of the production, distribution and status of the artwork as a commodity subject to market mechanisms.

Key artist of the generation that broke out with force at the beginning of the century and with an extensive curriculum, Negrón's practice is characterized by minimal interventions, the re-contextualization of everyday objects and a relational approximation to artistic production as a revealing act of historical, social and economic proportions.

However, since the beginning of the 20th century, the term has retained a connotation of radicalism, and carries the implication that for artists to be truly avant - garde they must challenge the artistic status quo - that is, its aesthetics, its intellectual or artistic conventions, or its methods of production - to the point of being almost subversive.

It juxtaposes the works of German masters of the nineteenth century — Caspar David Friedrich, Adolph Menzel, Max Liebermann — with painters of similar interests and stature from abroad, pointing up the interactions between nineteenth - century artistic production in Germany and throughout the continent.