Sentences with phrase «challenged art institutions»

«Some are independent - minded creators who feel their work is best served by maintaining a distance from these centers; some are teachers; others are «artist's artists»; some challenge art institutions,» she wrote.

Not exact matches

This is a national challenge and we are asking the DfE, parents, head teachers and school governors, Ofsted, higher education institutions and the Arts Council to act now and reverse these consequences with immediate effect.

Add to this nebulous college entrance environment the challenge presented by the proliferation of four - year high schools, whose numbers skyrocketed from 2,526 in 1890 to 10,213 in 1910, and it is easy to see why the trustees of the Carnegie Foundation felt the need to define college: «An institution to be ranked a college must have at least six (6) professors giving their entire time to college and university work, a course of four full years in liberal arts and sciences, and should require for admission not less than the usual four years of academic or high school preparation, or its equivalent, in addition to the preacademic or grammar school studies.»

The Broad Foundation's most recent $ 30 million challenge grant to the Museum of Contemporary Art, Los Angeles, of which Eli Broad was the founding chairman, has enabled MOCA to present Collection: MOCA's First Thirty Years, which opens Nov. 15 and features more than 500 works from the institution's 6,000 - work permanent collection.

Nicole Furman: «I think that the content of the work I create is unique, as I seek to challenge a lot of societal preconceptions and ruling institutions through common «symbols» (from gender preconceptions, to the mere existence of innocence, to historical construction and reconstruction), which is conceptual, yet always maintaining aesthetic priorities (which conceptual art seems to disregard, and which for me define art).»

Exit Art is an intimate portrait of an institution that from 1982 to 2012 challenged social, political, aesthetic and curatorial norms.

She also believes that the inequality is not something that can be challenged by public art institutions alone.

Harald Szeemann's radical exhibitions at Kunsthalle Bern and subsequent experiments at documenta and the Venice Biennale challenged the limits of the art institution and its methods of display.

Written in the first surge of the most significant feminist movement since the suffragettes, Nochlin's 1971 essay marked the beginning of an era in which public art institutions were challenged about the representation of women in their collections.

These two stories illustrate the challenges that appropriation - based institutional critique continues to represent for art - world institutions that are resistant to change.

By adopting the title ILLUMInations the 54th International Art Exhibition of the Venice Biennale also aspires literally to shed light on the institution itself, drawing attention to dormant and unrecognized opportunities, as well as to conventions that need to be challenged.

Challenging conceptions of «insider» and «outsider» art, the artists in the exhibition frequently create work using everyday objects that resonate both within the confines of a gallery or museum and among their own localized audiences who may or may not visit art institutions.

The exhibition groups the artworks within five themes of second - wave feminism: «Challenging Institutions and Canonical Traditions in Art,» «The Body,» ««Women's Work,»» «Gender and Performativity,» and «Race and Ethnicity.»

No other institution of its scale and character has such a complex and exhilarating mission — complex because interrelating the differing purposes of an art museum and a center for research and higher education is so challenging, and exhilarating because the possibilities and implications of this combination are so dynamic.

The group aims to collectively examine how small - scale New York arts institutions are perceived and evaluated by audiences, artists and funders alike; to identify the challenges of operating in today's climate and revive discussions of those obstacles and inequalities which have persisted since the rise of the alternative space.

Their exhibition there, which will now be presented at the National Gallery of Iceland, challenges the institution of art and turns inside out what we understand by such concepts as «work,» «practice» and «exhibition.»

[76] Cai Yuan and JJ Xin's often irreverent, performative interventions pointedly challenge the hegemonic values of the contemporary Western art world and its institutions.

«As an institution dedicated to exploring new forms of knowledge and modes of communication, we look forward to presenting DuBois's distinct artistic perspective, which challenges us all to consider complex issues of politics and personal identity,» added Frank Goodyear, Bowdoin College Museum of Art Co-Director.

Yet factors such as the embrace of larger institutions to new art, ever - adapting commercial environments, novel forms of social interaction, and the rising costs of living in New York have all created unprecedented challenges for small - scale institutions.

That she has chosen to show a number of artists who work in challenging conditions — with high probabilities for conflict and low levels of support from arts institutions or cultural infrastructures — seems to reaffirm what may sound trite but is effectively dOCUMENTA (13)'s sweetest and most profound gift to its visitors: its strange and tender love for what art has been and may no longer be.

Marcel Broodthaers (1924 — 1976), the Belgian surrealist - conceptualist - minimalist, was a poet, photographer, filmmaker, and artist who throughout the 12 years of his very short career challenged the role of art, the artist and the art institution, and is now recognized as one of the most important artists of the last century.

Through this challenging task, Goldstein and her colleagues will help bring one of the world's great contemporary art institutions into the 21st century.

This essay will examine the two exhibitions as examples of an «aesthetic of disappearance» that brought artists to invent an alternative «art world» that challenged dominant cultural institutions, social hierarchies, and media power systems.

Started in 1985 as an anonymous group of women artists challenging discrimination — aka the status quo — in art museums and galleries, the feminist masked avengers are still going strong; they're even now embraced by the very institutions they've sought to criticize.

Through this work she investigates current approaches towards the writing of indigenous - specific art histories, recent indigenous and settler research / arts collaborations, and strategies of creative - based interventions that challenge colonial narratives, national / ist institutions, and settler imagination.

Speaker: Doryun Chong, Assistant curator of visual arts, Walker Art Center In his talk, Doryun Chong will discuss the challenges and strategies of defining, identifying, and presenting Asian art within the discourse of contemporary artistic internationalism and alternative modernisms in a widely - recognized western institution of arArt Center In his talk, Doryun Chong will discuss the challenges and strategies of defining, identifying, and presenting Asian art within the discourse of contemporary artistic internationalism and alternative modernisms in a widely - recognized western institution of arart within the discourse of contemporary artistic internationalism and alternative modernisms in a widely - recognized western institution of arts.

«Take It or Leave It,» Ellegood explains, aims to challenge power structures and social - cultural institutions — be it politics, media, racism, sexism or art museums themselves — through artists who borrow and re-contextualize images, text and other elements from pop culture and fine art, among other places, to make a conceptual point.

The group producing it evolved into Manifest AR, an important new - media art collective formed in 2011, which developed critical augmented - reality interventions at museums and geo - political sites in an attempt to question and challenge institutions and world events.

The essay discusses how artists and arts institutions both challenge and reinforce established relations of power, and the importance of critical reflexivity in the face of complex forms of domination.

The essay discusses how artists and arts institutions both challenge and reinforce established relations

Two round - table talks to be held in early January will bring together directors of major international institutions to discuss new challenges being faced by modern and contemporary art museums.

Kennedy's intervention challenges the assumption that galleries exist to be filled with art, while the institution itself remains concealed.

Beyond that speculation, the biggest challenge still faced by arts institutions in the area is creating innovative experiences.

Ace Museum is committed to providing Los Angeles with an alternative exhibition experience and dynamic programs focused on increasing the audience's capacity to engage with significant and challenging works, while fostering relationships with partner institutions to expand local, national, and international contemporary art and culture.

Too much credit is given to artists or institutions for alluding to issues or problems within the art world without actually challenging these frameworks.

«This was developed in the talks programming — the panel Collapsing Structures discussed the role of art institutions in taking political stands, challenging museum neutrality and saw Laura Raicovich, former Queens Museum exective director, contentiously stating that cultural institutions express values that may not actually be matched by their actions.

The essay discusses how artists and arts institutions both challenge and reinforce established power relations, and the importance of radical self - criticism in the face of such complex hegemonies.

Dercon himself said: «Transforming Tate Modern is an incredibly inspiring challenge, allowing us the chance to create a new kind of art institution, fit for the 21st century and London's many different audiences.

Since its inception, the fund has supported numerous leading visual arts institutions with capital campaign, education, outreach and programming needs and donated nearly one hundred works of challenging contemporary art to public institutions across Britain and abroad.

Mikkel Carl is inspired by art theoretical and culture critical movements such as the historical avant - garde, the «60s neo-avant-garde, postmodern appropriation art and the»90s relational aesthetics, all of which tried to challenge the classical art institution and the existing concept of art.

As a result of limited numbers of art institutions and government support in Turkey, we have a different model and sometimes challenging to be understood by international members of art community.