Sentences with phrase «conceptual working process»

Her meticulously conceptual working process — so impactful for decades of artists working in her wake — followed a deliberately evolutionary trajectory.

Not exact matches

«I asked Jack to come back in this role to be the conceptual authority on the products at Twitter and to work with the design and user - support team to allow us to bring clarity to the process of how we develop at Twitter,» he said.

Altizer betrays his assumption of a metaphysics when he states, «Hegel's central idea of kenosis, or the universal and dialectical process of the self - negation of being, provided me with a conceptual route to a consistently kenotic or self - emptying understanding of the Incarnation, an understanding which I believe has been given a full visionary expression in the work of William Blake.»

I hope, nevertheless, that my comments may indicate why one person at least on this side of the Atlantic (and hence somewhat isolated from the technical expertise, vocabulary, and sometimes apparently frenetic debates of the community of process thinkers) finds in Hartshorne's work «genuine philosophic wisdom,» especially as it develops insights into the logical status and conceptual structure of a theistic understanding of the concept of God.

Those who practice the growthing arts on such a shaky conceptual foundation run the risk of unwittingly using concepts and methods that work against one another and thus diminish the effectiveness of the process.

The missing link is the assimilation by teachers and others close to the classroom's work of the conceptual shifts that undergird the reform initiatives: the dynamic sets of whys and hows that determine the process of change.

The study, which did not go through a peer review process, is wrought with methodological and conceptual problems, which I dismantled in the post, with a consumer alert.

His conceptual process involves stripping systems down to their essence to better understand the underlying structures and rules that govern how they work.

I enjoy the job of being an artist, the work, building paintings, arranging the parts, the structure of it, juggling the visual and the conceptual, solving little problems and stumbling across ideas during the process.

The anthology includes 68 titles by more than 60 artists, and is curated into eight programs ranging from conceptual, performance - based, feminist, and image - processed works, to documentary and grassroots activism.

Several of the works have been conceived as pairs where one acts as a distorted mirror of the other, giving physical form the conceptual processes of transformation that run through Ziegler's practice.

Riffing off both the aesthetic and conceptual characteristics of technology, artists in Technologism document technology's advancement in a plethora of ways: Ulla Wiggen's intricate paintings of circuit boards from the mid 1960s, see the development of an aesthetic inspired by the complex intersection of electrical wires, connectors and components, working to manipulate and rewire the physicality of technology; some thirty years later, John F. Simon's Art Appliances series of the 1990s uses the circuitry of small LCD screens to disrupt pictures and patterns, recreating them over; in Matte Rochford's video Progressively Degrading Test Pattern 2013, humble VHS tapes are copied and recopied, in a process of metaphysical reduction; while in Joshua Petherick's new work, one technology is employed to record another soon to be superseded, revealing new visual dimensions and the «ghosts in the machine».

Rather than surveying the whole range of Orozco's practice, the exhibition seeks to cut a conceptual slice through it, to look deeply into the mechanics of the artist's thinking and working process.

His work ranged from wall drawings, structures (a term he preferred instead of sculptures), painting and conceptual pieces that remained the elements of the artistic process.

Emerging in late - 1960s Los Angeles, Ruppersberg was among that city's first generation of conceptual artists to espouse a working method that privileges ideas and process over conventional aesthetic objects.

Her work has also been featured in such international surveys as the Biennale of Sydney (1976); Documenta 6, Kassel, Germany (1977); the Venice Biennale (1978, 1980, 2001), and more recently The Last Freedom: From the Pioneers of Land Art of the 1960s to Nature in Cyberspace, Ludwig Museum, Koblenz, Germany (October 16, 2011); Systems, Actions & Processes: 1965 - 1975, PROA Foundation, Buenos Aires (through September, 2011); Erre: Variations Labyrinthiques, Centre Pompidou, Metz (September 12, 2011 - March 5, 2012); and Light Years: Conceptual Art and the Photograph: 1964 - 1977, Art Institute of Chicago (December 11, 2011 — March 11, 2012).

Working within a set range of parameters, ranging from conceptual, to process - based or the performative action of mark and gesture, each artist commits themselves to fully mine and explore a particular avenue of formal inquiry.

Concealment, serendipity, story telling, duration, and process are all recurring concerns in British conceptual artist Tacita Dean's work.2 Films are an important element of her art; lasting several minutes, they are shown on a continuous loop, and are always accompanied by a text crafted by the artist...

Kelley brings to these projects an ironic sensibility and stringent conceptual processes, tending to layer the accepted high - art practices like painting with craft, working class and popular culture references.

Known for her large - scale works that combine geometric drawings, numerical series, images and writings, Hanne Darboven (Munich, Germany, 1941 - 2009) is often associated with conceptual art, a correlation that should be nuanced further given the unmistakably subjective nature of the process of realization and expression of her works.

In the Hessel Museum it will be possible to view Creed's work in the context of minimal, conceptual and process - oriented art works, one of the core strengths of the Marieluise Hessel Collection.

«Serial,» De la Mora's first solo show in Europe, debuts engrossing abstract works that are visually minimal but hold conceptual weight, due to the artist's exacting process and the unsuspecting found materials he employs — including discarded parts from printing presses and microscope coverslips.

Through a multi-disciplinary formal process and a syncretic creative approach he makes works that are as aesthetically pleasing as they are conceptual.

Asked about it today, Mason de-emphasizes the power that any conceptual scheme could have over her work process: «Yes, analogous color is real, but I don't think like that, in terms of systems — I just do.

The artwork provides a site for the accumulation of procedures to play out through process and materiality, allowing conceptual ideas to accumulate wear and tear through new permutations, essentially mining the work of art for untapped avenues of discourse, textuality, research and abstraction.

The experience of talking with Lemieux in her studio about these and other notable works, both finished and in - process, made me very appreciative of her eccentric and enigmatic wit, conceptual feminism, meticulous craftsmanship, and reverence for art history.

In Requires extra budget for lettuce, emerging conceptual artist Jacob Stewart - Halevy responds to Giovanni Anselmo's early work in general and to the sculpture Untitled 1968 (Eating Structure), part of CCS Bard's permanent collection, in particular.Anselmo is often identified as a key member of Arte Povera, and his oeuvre is characterized by its focus on the effect of natural processes on human experience.

Similarly, the American artist Joseph Kosuth in his conceptual text work sees colour almost linguistically and toys with processes of representation.

Small events and phenomena from his everyday life and from the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision - making process a firm context.

Over the past number of years I have worked in thematic series, beginning each with a conceptual framework and then allowing the layered painting processes to determine the eventual form and content of the work.

Each artist's practice negotiates the nature of physical surface and conceptual process, connecting the surface appearance of the work with its meaning.

The included works were all exemplary of post-minimalist strategies, growing out of conceptual practices like Italian Arte Povera, Process Art, and Land Art.

CULT Aimee Friberg Exhibitions is an international gallery showcasing cutting - edge work by emerging and established artists who bridge formal, conceptual and process - based investigations exploring the human condition.

«The exhibition is a testimony to Kapoor's unflagging research in the formal and conceptual spheres, which has informed his artistic practice from the start, contrasting the highly engineered and more organic processes of his work.

There's an earnestness at the Supper Club, the artist working through conceptual and painterly dilemmas, processing semi-recognizable portions like a bored tween mixing the flavored foams at a trendy, yet politically savvy molecular gastronomy joint.

The artists will discuss their work's origins, conceptual development, and process.

Her exploration of the act of looking and the mechanics of the photographic process has resulted in a highly conceptual yet strangely visceral body of work that considers the thresholds between the personal and the universal.

You were talking about something that was completely uninteresting to you when you started your work, which was the early - «60s and late -»50s battle between the conceptual and the process artists with the figurative people and action painters, and those painters with abstract painters: abstraction versus figuration.

Jennifer Faist, Carousel, 2010 Resin, oil, alkyd, and acrylic on wood 17 x 52 x 1.5 inches April 23 — June 4, 2011 Jennifer Faist engages in a rigorous material process where color sets an emotional timbre and pattern anchors the conceptual and compositional core of the work.

Using a variety of techniques, such as thick and thin painting, removing portions of canvas from his work, and multi-media assemblage, Aldrich has developed an artistic style that turns away from the canonical understanding of art historically, in favor of exploring new conceptual processes through which to view the contemporary world as he sees it.

His material constructions are photographed, then either magnified or shrunken in scale, the final work of art a documentation of his conceptual and artistic processes.

Her work is driven by conceptual concerns but is deeply engaged with the processes and mechanics of making, especially the production of images.

A group exhibition highlighting artists working in new and multidisciplinary mediums that have developed a process and technique that is uniquely their own, their method accelerates the conceptual aspects of their work.

Seeing these hybrid works on paper, coupled with the high - volume performance video, and another two - channel video at the end of the exhibition felt akin to a performance itself; this unveiling allowed the audience to simultaneously access Newsome's process and his broader conceptual strokes.

Humanism and Technology, The Human Figure in Industrial Society, 600 Seoul International Art Festival, National Museum of Contemporary Art, Seoul, December 16, 1994 — January 14, 1995 (Catalogue) Prints and Process, Old Dominion University, Norfolk, Virginia, October 1994 Democratic Vistas: 150 Years of American Art from Regional Collections, University Art Museum, University at Albany, New York, September 24 — November 13, 1994 (Catalogue) Master Prints from the Collection of The Butler Institute of American Art, The Butler Institute of American Art, Youngstown, Ohio, September 9 — October 19, 1994 Visible Means of Support, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, June — November 1994 Against All Odds: The Healing Powers of Art, The Ueno Royal Museum and the Hakone Open Air Museum, Japan, June 9 — July 30, 1994 A Floor in a Building in Brooklyn, Richard Anderson Gallery, New York, June 9 — July 30, 1994 (Curated by Chuck Close) The Assertive Image: Artists of the Eighties, Selections from the Eli Broad Family Foundation, UCLA, University of California, Los Angeles, June 6 — October 9, 1994 From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C., May 29 — November 27, 1994 (Catalogue) Facing the Past: Nineteenth — Century Portrait from the Collection of the Pennsylvania Academy of the Fine Arts and Confronting the Present, The Frick Art and Historical Center, Pittsburgh, May 27 — June 24, 1994 Inaugural Group Exhibition, Off Shore Gallery, East Hampton, New York, May 14 — June 13, 1994 30 YEARS ---- Art in the Present Tense: The Aldrich's Curatorial History 1964 — 1994, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, May 15 — September 17, 1994 (Catalogue) Face - Off: The Portrait in Recent Art, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, September 9 — October 30, 1994.

The Biennial offers a few works of true excellence, typically more conceptual than process - based, including Werner Herzog's hilarious contribution of opera - like music by Ernst Reijseger paired with rotating images of etchings by the Dutch landscape painter and printmaker Hercules Seghers (c. 1589 - c.

Focused on process - oriented, conceptual works on paper, the exhibition highlights each artist's experimentation with boundaries of media and form.

O'Grady and Rose's conceptual frameworks — which are deeply process driven, it typically taking years to develop a concept for a work — are centered on the development of characters and personas.

The classic genres of photography — nude, portrait, landscape, architecture, or industry — are mirrored in the works, but are often citations or stages of conceptual processes.

These artists choose to work with clay for its technical, conceptual, and metaphoric possibilities and capitalize on clay's versatility along with the countless glazes and firing techniques available — often viewing the clay, glaze, or kiln as a collaborator in their process.