Sentences with phrase «contemporary artistic language»

The daughter of a goldsmith, she combines her knowledge of this ancient art with a contemporary artistic language.

Not exact matches

Whether in his paintings or his installations, his formal world has always transformed the condition of contemporary society, concentrating a chaotic and constantly shifting modern china into a dynamic artistic language.

The artists of the upcoming show appropriated modern commercial strategies in order to create an entirely new artistic language of commercialism, a revolutionary shift that continues to define contemporary art today.

Through a precise examination of this distinct form of artistic practice in works by artists ranging from John Cage to Sanford Biggers, this exhibition provides a unique perspective on the ways in which modern and contemporary artists have used language, objects, and images to forge social contracts with their publics.

Much like the Baroque period, the diverse array of artists in this exhibition speak to contemporary political, personal and formal artistic concerns using a common, figurative language in uniquely personal styles.

In the years before the mid-1980s art market boom, Schnabel forged a pictorial language that embraced unconventional methods and materials with a visceral effect; he introduced to the American contemporary art scene a particularly European post-war sensibility through his admiration for Francis Picabia and his personal artistic dialogue with Sigmar Polke and Blinky Palermo; and he broke with the prevailing conceptualism through figuration, personal narratives and references to history and mythology.

This event considers the function of text, artist's writing and artistic language as departure points to explore the necessity of writing for a wide range of contemporary artists» working today such as Martha Rosler, Hito Steyerl, Jonas Staal, Cai Gu - Qiang, Miguel A. Lopez, Marion von Osten and the many others who emphasize the act of writing as either a significant part, or as the main site of their artistic production.

When the first public exhibition of modern - style woodblock prints took place in Shanghai in June 1931, it heralded an explosive art movement that helped shape the course of modern Chinese art history in the 20th century and has remained a vital part of contemporary China» s artistic language.

The exhibition, focusing on a selection of over 80 works by 62 contemporary artists belonging to Portugal's principal contemporary art collection, surveys a period of shifts in artistic language — the 60's and 70's — that ushered in the new contemporary.

Organized by CCA Wattis Institute of Contemporary Art director Anthony Huberman, the exhibition, spanning three floors at the gallery's uptown location, offers a breakdown of the artist's broad artistic language alongside a publication edited by Wouter Davidts.

The Incomplete will explore the open - ended nature of four generations of contemporary artists and their multiplicity of artistic language.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Following the program of 2017, which investigated language materialized in objects and images, KW Institute for Contemporary Art turns its attention towards the body and its relationships to politics, technology, and architecture, while continuing to think through artistic practices.

Leveille: I speak in a language of pictures.In a similar way that contemporary figurative painters such as Currin, Kerry James Marshall, and Robin Francis Williams use a sense narrative, I also use it as an artistic tool.This is very inspiring in its own right to me, the exploration of an image, not in service TO narrative but that employs these things as tools to make an emotional connection with the viewer.

LeWitt reframed traditional notions of drawing, sculpture and photography by establishing a personal artistic vocabulary of «impersonal» and seemingly simple instructions, providing a platform for language and image to merge and radically changing the landscape of contemporary art.

Connected to one another through their contemporary re-examination of traditional artistic languages, the artwork uniquely reveals captivating spins on the context of tradition.

In her work, Kilomba approaches «the colonial wound,» as she says, and intentionally creates a hybrid space between the academic and the artistic languages, to explore new formats to decolonise knowledge and narrative, «bringing a new, experimental, and compelling voice into contemporary art and discourse.»

Cultural traditions and values of every country strive to find new contemporary language to keep pace with the transformation of artistic expression.

Having seemingly recovered from the harsh critical overtones after almost being eliminated from contemporary discourse, in which a retroactive and purely commercial tone took over, the ideas and strategies of the «reductive» and «essential» have slowly found their way back into artistic language and practice.

Following Sophia's successful inaugural exhibition of his work in 2016, «Hunting the Light» features twelve new paintings demonstrating Derakshani's continued quest for a visual language that bridges Iranian artistic traditions with Western contemporary and abstract inclinations.

As contemporary artists, they employ diverse artistic languages.

Sharp, witty, satirical, and deeply subversive, the nearly 150 works in this exhibition examine the the origins and rise of counterculture artists in New York who appropriated modern commercial strategies to create an entirely new artistic language, a revolutionary shift that continues to define contemporary art today.

Museion's exhibition programme revolves around presenting artists, whose work is emblematic of the contemporary art scene, and bearing witness to the changes in artistic languages, sculpture in particular, from an international perspective.

The last years of Vandenberg's artistic output were marked by intense investigations into the intersections of language, text and color that produced multi-layered and rich drawings, paintings and book projects and are now part of a titillating exhibition curated by the director of the CCA Wattis Institute for Contemporary Art, Anthony Huberman.

«Hunting the Light» will feature twelve new works demonstrating Derakshani's continued quest for a visual language that bridges Iranian artistic traditions with Western contemporary and abstract inclinations.

«Hunting the Light» will feature twelve new works demonstrating Derakshani's continued quest for a visual language that bridges Iranian artistic traditions with Western contemporary and abstract i...

By approaching language and writing from the perspective of contemporary artistic practices, the exhibition seeks to break the conventions decreed by the academics of language and subvert the usual norms.