Sentences with phrase «collectives working within»

The exhibition explores the rich creative diversity of Brooklyn, presenting 100 works by 35 artists or collectives working within the borough.

Not exact matches

I believe our collective compassion has a short attention span in the church and that even those who want to be supportive of justice work grow weary of the same cause if it is not resolved within a certain time frame.

But that is far from saying that, influenced by the links which unite them, our grouped minds working together are not capable of achieving results which no one member of the group could achieve alone, and from which every individual within the collective process benefits «integrally», although still not in the total sense.

The report finds makes a list of recommendations for business, industry, professional bodies and government, namely: Construction businesses · Focus on better human resource management · Introduce and / or expand mentoring schemes · Boost investment in training · Develop talent from the trades as potential managers and professionals · Engage with the community and local education establishments Industry · Rally around social mobility as a collective theme · Promote better human resource management and support the effort of businesses · Promote and develop the UK as an international hub of construction excellence · Support diversity and schemes that widen access to management and the professions · Emphasise and spread understanding of the built environment's impact on social mobility Professional bodies and institutions · Drive the aspirations of Professions for Good for promoting social mobility and diversity · Support wider access to the professions and support those from less - privileged backgrounds · Promote and develop the UK as an international hub of construction excellence · Emphasise and spread understanding of the built environment's impact on social mobility · Provide greater routes for degree - level learning among those working within construction Government · Produce with urgency a plan to boost the UK as an international hub of construction excellence, as a core part of the Industrial Strategy · Provide greater funding to support the travel costs of apprentices · Support wider access to the professions and support those from less - privileged backgrounds · Place greater weight in project appraisal on the impact the built environment has on social mobility The report is being formally launched at an event in the House of Commons later today.

This is how democracy is supposed to work within the EU: in the absence of a truly European demos we rely on the collective wisdom of 28 distinct national demoi.

David Wain - co-founding member of MTV's The State, as well as the nightclub act - turned holy one - off Comedy Central season, Stella - is no stranger to the joys of the collective and working within a family alive with the synergy of doing exciting work, feeding off one another.

While «teacher voice» was a key driver in Shanker's career, and while he thought the proposal would only work within a collective bargaining context, «voice» per se was not the point.

Skills for Life work alongside Skills for Curriculum (literacy, numeracy, the arts, STEM and other curriculum areas) that are placed within the individual interests, collective culture and communities of the children and their families.

Skills for Life work alongside Skills for Curriculum (literacy, numeracy, the arts, STEM and other curriculum areas), which are placed within the individual interests, collective culture and communities of the children and their families.

Building upon the work of horizontal teams, vertical conversations promote a wide - angle view of student learning and further promote collective responsibility for the students within a school.

Collective for Youth values both the leadership and the advocacy work that the Mayor's office provides within the city of Omaha for out of school time programs.

The result was the Indie MEGABOOTH — a collective of indie developers working within a conference to create a unified presence, out - buy the big guys, and look good doing it.

The primary aim of Diversi is to work together to create a collective force for greater diversity within games, with people...

Based on a text by critic Guo Juan, the work combines video and lightbox to explore how individuals exist within collective society and features, among other things, a glowing, humming, multi-color adaptation of Muhammad Ali's «me, we» poem.

«This exhibition is the first time their works have been shown together within the context of women's collective innovations at Atelier 17.»

The title of the exhibition fits well: from his earliest object on display, Hunting Dogs Project (1961), a model for a public garden in the form of a maze, to PN27 Penetrable, made in 1979, a year before his death, there is a definite drive in the artist's work to contain a boundless and unpredictable human body, including the collective body — with all its joyful and painful emotions — within a certain aesthetic frame.

«Working both within and beyond the conventions of portraiture, landscape and text, these artists find inspiration in the meeting of the self and the collective, and the personal and the political,» added Russell Lord, NOMA's Freeman Family Curator of Photographs.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

It's a show that features the work of eleven artists and collectives, including Piotr Bosacki, Little Warsaw and Ex-artists» Collective among others, presenting speculative alphabets, a classroom, educational videos and sculptures articulating the complexities of communication and the unresolvable problem of engineering a single, unifying tongue — a «universal (perfect) language» — within that.

Mediengruppe Bitnik (read — not mediengruppe bitnik) is an artist collective, with two members Carmen Weisskopf and Domagoj Smoljo working on and within the Internet!Mediengruppe Bitnik's work engages many of the core tenets of post internet developments, in particular challenging notions of surveillance, social interactions, and internet consmerism.

Mediengruppe Bitnik (which is read as «not mediengruppe bitnik») is an artists» collective, with two of its members, Carmen Weisskopf and Domagoj Smoljo, focused on working on and within the internet.!

Draper worked within the fine art photography community and was little known outside New York City until after his death; Freed, on the other hand, earned international acclaim as a photojournalist and a member of the Magnum photography collective.

The curators asked artists Alan Butler, Mark Durkan and Eilis McDonald to create a kind of architecture or «intervention» for the work to be shown within, so that all the pieces were pulled together into a collective, multimedia installation.

Perhaps they discover their own reflection through their subjects and in this way, these works highlight a collective human experience that we can all relate to and locate within ourselves.

The floor work and the fifth quilt allegorically posit, for the artist, the age - old quandary of the relationship between an individual and the collective whole - the attempt to find one's own direction while working within an existing system.

Key figures within «No Wave», a short - lived avant - garde scene in the late 70's in New York led by a collective of musicians, filmmakers and artists, Dick and Goldin met during this time and became life - long friends whose work richly influenced each other.

Jeebesh Bagchi of Raqs Media Collective — one of Indian contemporary art's more conceptually orientated artists — sees the new biennial as the beginning of a way out of the previously market - orientated scene: «Most of the artists here primarily show work within domestic circuits in the confines of the white cube.

Their collective approach to art - making is steeped in academic discourse, and whilst retaining the vibrancy of their graffiti backgrounds, traditional art movements such as Futurism, Abstract Expressionism and Precisionism are also embraced by the visual vocabulary imbued within their work.

Through an examination of ideals of freedom and of the power of collective action, the works on view represent a range of perspectives within a local and global context by artists including: Pawel Althamer, Cyprien Gaillard, Melanie Gilligan, Shilpa Gupta, Susan Hefuna, Yoav Horesh, Sala - Manca, Wolfgang Tillmans, Danh Vo, Lawrence Weiner, Artur Žmijewski, and Natalia Zourabova, among others.

Her work falls within the margins between painting and performance where she confronts personal and collective boundaries.

Works by 63 artists and art collectives, from emerging to well - established, are on view on four gallery floors and in other spaces within the museum.

Intertwining history with reality, nations with cultures, collective memories with private memories, the rich imagery in his work could not survive in a vacuum - of abstract space, but is able to reconstruct and renew itself within the emotional and imaginative construct of private memories.

The context of other voices, beliefs, processes or narratives within his very personal works, allows for alternatives to our (collective) reality.

GdG: The book is about termite colonies and intercommunication within the colony, presenting the idea that all of the termites in the colony work together as a collective organism.

(Madrid, Spain) A collective exhibition showcasing the work of over thirty Spanish and international artists with the single objective of reviewing the relationship between art and public within a context.

Sin motivo aparente (For no apparent reason) is a collective exhibition showcasing the work of over thirty Spanish and International artists with the single objective of reviewing the relationship between art and public within a context, the CA2M venue, Center where the viewer has been CA2M main objective since its opening five years ago.

Within an architectural environment designed by the architects» collective raumlaborberlin, the exhibition at the Hamburger Bahnhof is showing works both by teachers at the college, such as Josef and Anni Albers, Richard Buckminster Fuller, John Cage, Merce Cunningham, Shoji Hamada, Franz Kline, Xanti Schawinsky and Jack Tworkov, and by a number of Black Mountain students, including Ruth Asawa, Ray Johnson, Ursula Mamlok, Robert Rauschenberg, Dorothea Rockburne and Cy Twombly.

[4] The One and Only, within the context of the gallery, challenges Colonialist ideologies, speaking to ownership as Spaulings work is installed in another art gallery despite having an existing gallery space for the collective.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

The works are the outcome of the collective's broader research into the applications of technology and science within art and their perpetual quest to probe the limits of human perception.

Contributors to the Marrakech Biennale include curator Omar Berrada, who will present a specific show within the larger exhibition on the body of work and the archive of the late Moroccan critic and filmmaker Ahmed Bouanani; artists Yto Barrada and Mona Hatoum; a small survey of the art movement initiated by the Casablanca School; and architect Khaled Malas with documentation of his ongoing collaboration with a collective of artists and craftsmen in Ghouta and other areas of Syria to build windmills out of found materials to generate electrical power for hospitals.

After repeated visits, however, they come to provide a useful organizing structure; while it's true that the ceramic works are grouped in the final gallery, that the poetry lines the walls of that same space, and that the jewelry is together in one case, they are all contained within a single show, marked by their collective belonging.

In her recent work she has been questioning the meaning of «absence» within the collective memory and addressing urban transformation, which causes total disappearance, destruction, isolation and otherness within the framework of communities, history, time, space and memory.

With the inclusion of contemporary works, including Wadden's «Dreamin» 2016 Diptych made of cloth, fibre and acrylic on canvas, the show's collective harmony lies within a «process of p

On the occasion of Projects 107: Lone Wolf Recital Corps, a changing group of artists in the multidisciplinary performance collective founded by artist and musician Terry Adkins (American, 1954 — 2014) presents new work and reprises selections from the Corps's repertoire, both within the exhibition and in the Museum's theaters.

While there is a complicated, yet fascinating line between graffiti and fine art, the collective has made a seamless transition into the art world in a tasteful way that does not categorize the work as simply «graffiti,» yet sustains the collective's distinct styles and energy within a gallery setting.

This process results in a spectrum of color within each work in what Lerma calls a display of chromatic incest, a poetic gesture on the collective rise of the family's economic and political legacy.

Installed in the three main - floor galleries, on a seemingly continuous pedestal over one hundred feet in length, Kusaka's installation calls for each work to be considered within the context of the collective whole.

«The Harleston & Waveney Art Trail Collective is a diverse and lively community of professional artists who live and work in the beautiful Waveney Valley, all within reach of Harleston, a small market town on the border of Norfolk and Suffolk.

In its earliest forms in the middle of the eighteenth century — the Salon of the Académie des Beaux - Arts in Paris and the exhibiting societies of London — the exhibition was a collective affair, organized among artists: a form of self - assessment and public presentation mediating between a guild of merchant craftsmen and the unstable fractions within the public that might provide a market for those artists» work.