Sentences with phrase «conceptual narrative work»

Not exact matches

Artwork ranges from drawing, photography, sculpture, installations, film and video to performance and social practice taking place in both urban and rural landscapes, and include works that are narrative, political, performative, and conceptual examples of contemporary art.

Artwork for Bedrooms draws a parallel narrative from the same moment of young artists who were similarly invested in «poor» materials, but who put them to work in more abstract, fragile, or conceptual ways.

Lamelas» conceptual practice has produced a diverse body of work shifting focus from Pop Art sculpture in the late 1960s to video work that parodies mass media television and examines the building blocks of narrative film.

Taking its name from Rebecca Solnit's book Wanderlust: A History of Walking, the exhibition will include works that are narrative, political, performative, and conceptual examples of contemporary art.

Peter Doig, whose practice over the past twenty years has drawn heavily on the language of cinema, layers the personal and public, figurative and abstract, visual and conceptual in works that resonate with narrative potential.

This new body of work transcends the conceptual framework laid down by previous generations, and allows the art to flow into a narrative that shares its concerns to a public yearning to be further sensitized about issues that affect us all, not just in remote localities in which they were born,» says Francesca von Habsburg, founder and chairwoman of TBA21.

Known for championing artists who create groundbreaking and challenging forms of visual expression, Lehmann Maupin presents work highlighting personal investigations and individual narratives through conceptual approaches that often address such issues as gender, class, religion, history, politics, and globalism.

Fredric Snitzer Gallery will exhibit new works by another Cuban artist María Martínez - Cañas (b. 1960), whose conceptual photographs engage with narratives involving origin, perception and identity, based upon the artist's own feelings of dislocation following her move from Cuba to the United States in the late 1970s.

A conceptual artist who works across a variety of media; themes of energy, nature, technology, history and perception occur throughout his practice as he examines narratives of places, people and objects.

Adrian Williams is a conceptual narrative artist whose written work serves as a catalyst for performances, interventions, and film.

Working in the mode of what has been called «poetic Conceptualism,» these artists provide new perspectives within the global Conceptual narrative, utilizing the Icelandic landscape, language, and culture as their source material.

The photographs include some of Hopper's most iconic work, arranged in evocative narrative groupings that encapsulate his unique and conceptual photographic practice.

Albertz Benda is pleased to present After the Orgies: Bill Beckley, The Eighties, the artist's second solo exhibition with the gallery focusing on works from the 1980s, following Albertz Benda's 2015 inaugural show of early conceptual narrative artworks dating from 1968 - 1978.

Featuring works from 1965 to the present, this survey highlights over four decades of artists» performances created specifically for video, from conceptual exercises of the late 1960s to new, digitally - mediated performance narratives.

Farmer creates conceptual works with poetic narratives, often combining his interests in the material production of the art object with theories of psychology and dramatic presentation.

Inherent in the presentation of these drawings is the exploration of the artist's conceptual framework and the narratives that manifest throughout his bodies of work.

At the same time, The New Barbarians is tinged with the conceptual subversiveness that the yBas deliberately exploited: by transplanting their own faces onto the work, the couple align their practice and artistic personae with grandiose narratives of creation and evolution.

Rosa Barba's work ultimately extends into a conceptual practice where the medium of film is employed to explore any possible aspect of its material, sculptural, and narrative qualities and the ways it articulates space.

Leonard enjoys illustrating narrative based work, especially for children, but adding his own fun conceptual twist.

The exhibition includes together historical works by Lee Bontecou and Joseph Beuys; minimalist and conceptual works by Donald Judd and Hanne Darboven; detailed narrative drawings by Elizabeth Peyton and John Currin; collages by Amelie von Wulffen, Mona Hatoum, Lucy McKenzie and Paulina Olowska; and large - scale installations by Nate Lowman and Ján Mancuska.

Among the earliest examples of Conceptual Art, it was with these seminal paintings that Baldessari reconsidered the practice of artmaking, questioned the concepts of authorship, originality, and aesthetic judgement, and first explored the narrative potential of imagery and the associative power of language that continues to inform his work today.

Many artists of the twentieth century — the Cubists, Dadaists, Surrealists in the early decades and the Pop, Conceptual, and Narrative artists in our own time — have incorporated text in works of visual art.

In contrast to leading conceptual art practices of the 1970s, Clemente refocused attention on representation, narrative, and the figure, and explored traditional, artisanal materials and modes of working.

Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.

The fourth in a series of cross-cultural symposia organized by Lucy Lippard, the four artists interviewed hereÑJapanese - American painter and political activist Betty Kano, conceptual and performance artist Lorraine O'Grady, Hopi weaver Ramona Sakiestewa, and Chicana narrative and installation artist Celia Alvarez Muñoz — discuss their work and its cultural contexts.

A conceptual narrative in three parts, the works on view are inspired by personal recollection, oral history, family relics, and the unearthed bones of the horse that carried Young's great - grandfather north during the Great Migration.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Working within the traditions of conceptual art, Tatham & O'Sullivan's work creates and temporarily inhabits specific narrative or thematic spaces.

Artwork for Bedrooms draws a new and parallel narrative of the same moment of young artists who were similarly invested in «poor» materials, but who put them to work in more abstract, fragile, or conceptual ways.

A younger generation of artists working in the 1980s and 1990s has been influenced by Conceptual Art's use of words for their narrative possibilities as well as Ruscha's attraction to the look of printed words.

Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets

A conceptual artist who works across a variety of media, Joo is interested in themes of energy, nature, technology, history and perception, which he explores through narratives of places, people and objects.

The godmother of feminist art, Kelly is known for her provocative films and large - scale narrative installations that explore notions of sexuality, work, power, and politics by tapping into the more visceral aspects of daily life... «Kelly is one of the most important female Conceptual artists of our time,» says L.A. gallerist Susanne Vielmetter, who represents the artist along with New York — based Mitchell - Innes & Nash, and Pippy Houldsworth Gallery of London.

Through the exploration of residual histories and objects associated with art, design and architecture, Kasper plays the conceptual storyteller presenting works as historical narrative.

The artists in Tales of Our Times provoke common anxieties of the international elite — climate change, AI takeovers, appeals to «mindfulness» — in their narrative and conceptual works because they belong to it.

Torres expands his conceptual practice in this solo exhibition while making ties to much of the narratives seen in his previous work that often focus on the struggles of lower class city dwelling.

The legacy of conceptual art practices permeates the exhibition, revealing layers of narrative in both the finished work and through the process of making, in some works abject materials such as car parts, wax, expanding foam and plywood, as well as methods of production such as crochet and embroidery are used to question the value of labour and social hierarchies.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

Directly referencing the cinematic device of the split screen, the resulting works not only engage both the formal and conceptual relationships between film and photography, but also serve as in - depth investigations into obsession, inconclusive narrative and the complex psychological corridors of desire.

While reflecting many of the currents of Postminimal and Conceptual art of the 1970s, Morton's work also looked to a pioneering use of personal narrative, intimacy, humor, and poetic imagination.

By introducing these elements, the monochromatic parts are given a narrative framework that instills the work with a contemplative conceptual edge and allows us to consider the material combinations throughout his body of work.

These narratives included Pop and Conceptual Art, Minimalism, body - oriented performance art, the Pictures Generation, identity politics and psychologically - inflected figurative works.

Entering the New York art world in the late 1960s and throughout the 1970s, Diao first engaged, in his early work, in the complex position of painting in the aftermath of the Abstract Expressionists and the formalist critical debates that followed them, successfully pushing painting into conceptual territory while allowing him to deal with aesthetics, history as well as personal narrative in his painting.

The first section lays out the rationale, conceptual underpinnings, and clinical practices for working with children and their families from a narrative approach.