Sentences with phrase «contemporary audiences who»

Maureen O'Hara's characterization of a feisty redhead with a mean right jab might also be seen with less humor by contemporary audiences who are more sensitive to domestic disputes.

Not exact matches

«What an audience expects of a contemporary Western is that it will either largely conform to the classic pattern of extolling the heroism of the cowboy, often a lawman cowboy, who has to defend the right in a wild setting, or, that the film will seek to undermine this pattern by means comedic or serious.

This person knew that the chapter was full of meaning and featured the rich, evocative sound of names, names which mean very little to a contemporary audience but names of people who were a vital part of Christ's story.

He is first and foremost a capitalist, of course (a point not lost on contemporary audiences, hopefully) but one who shows such open disdain towards his slaves that they are acknowledged only as property to be exchanged for cash in transactions.

Check it out below after the official synopsis... On March 20th, Netflix audiences around the world will meet the Rayburns, a contemporary American family who are hard - working pillars of their -LSB-...]

Sena, who is known for making contemporary films that appeal to today's audiences, wanted to incorporate a modern twist into the historical backdrop of the movie.

Recollections that a contemporary audience believed the last fifteen minutes of Burnt Offerings to be the scariest fifteen minutes ever captured on film make me wonder how these guys managed to interview only people who, in 1976, had never seen The Exorcist, Don't Look Now, Rosemary's Baby, Night of the Living Dead, Black Christmas, and on and on.

For more than fifty years, the American multidisciplinary artist David Hammons has astounded and enlightened audiences with his diverse, incisive, and conceptually brilliant artworks, many of which have since become icons of contemporary art history and lodestones for younger artists like Hank Willis Thomas and Rashid Johnson who continue to explore race in their work.

There has been an amazing response to the initiative from audiences and especially younger people, who have enjoyed free access to displays of world - class modern and contemporary art with specially tailored learning programmes.

«By uniting the Nexus Award under the umbrella of ART PARTY, we aspire to introduce our increasing and diversified audiences to individuals like Mr. Walker who have and will continue to shape the landscape of contemporary art here in Atlanta,» says Executive Director, Veronica Kessenich.

With Eyes On: Xiaoze Xie, the Denver Art Museum initiates a series of exhibitions featuring contemporary artists who they believe should have fuller exposure to their audiences.

With Western galleries continuing to open in Greater China (by and large in Hong Kong) and Western museums attempting to introduce audiences to the development of contemporary art in the region (witness the Guggenheim Museum's current exhibition), it's no surprise that Helbling, who has been promoting contemporary art in China since he set up Shanghart in 1996, is the first port of call for advice and information.

Erin Toale is an artist, advocate, writer and curator who works to make contemporary art accessible to and enjoyable for all audiences.

Not only does the Gallery 2 program broaden the audience's basis of visual reference and education — as it is important to explore the relationship of contemporary practice and historical lineage — but it also affords the gallery the opportunity to work and build relationships with artists who are represented by other galleries, artists whose trajectories hold a different primary focus than the gallery, as well as young artists.

The # 60,000 prize has a major impact on both the winning museum and their chosen artist: for the winning museum, the award allows the acquisition of an ambitious work of contemporary art of national importance, and for the winning artist (who may be showing widely nationally and internationally but whose work is not represented in collections in this country), the award is a stepping stone to greater visibility and provides access to national and international audiences.

In New York, there was last year's New Museum Triennial, «Surround Audience,» whose participants addressed «a society replete with impressions of life, be they visual, written, or constructed through data,» and «Ocean of Images,» the 2015 iteration of MoMA's «New Photography» showcase, featuring artists who use «contemporary photo - based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models.»

By coupling bright, mostly young talents who deal with similar issues, the art audience sees novel connections and finds a unique context for understanding contemporary art in new ways.

Curated by Sessa Englund, Introductions brings a contemporary mix of video, photo, sculpture, painting and screenprint, offering the audience a view into the works of artists who's practice centers on the individual and academic exploration of self - identity.

CCA Wattis Institute for Contemporary Arts, and the Graduate Program in Curatorial Practice at CCA, San Francisco, 2011 (edited volume accompanying the exhibition God Only Knows Who the Audience Is: Performance, Video, and Television Through the Lens of La Mamelle / ART COM)

And that was also a wonderful opportunity to learn what it's like to work with a diverse audience — an audience who not only knew very little about contemporary art but who was highly suspicious of it.

While a prevailing wind of cultural pessimism might propose Spence's work as specifically periodic, to those who know it, and to those who — through this exhibition — will come to know it, it is clear that she has much to offer contemporary audiences.

For the winning museum, the award allows the acquisition of an ambitious work of contemporary art of national importance, and for the winning artist (who may be showing widely nationally and internationally but whose work is not represented in collections in this country), the award is a stepping stone to greater visibility and provides access to national and international audiences.

The curators (who run the salon project Fanny, Berta in Vienna) have observed that many contemporary artists, as well as the art audience in general, often seem emotionally detached from the experience of art.

2011 Images of the Mind, Deutches Hygiene - Museum, Dresden DE; Moravian Gallery, Brno, CZ The View from a Volcano: The Kitchen's Soho Years 1971 - 86, The Kitchen, New York, US The Quintet of the Astonished, Everson Museum, Syracuse, US G - d Only Knows Who the Audience Is, CCA Wattis Institute for Contemporary Arts, San Francisco, US Real Virtuality, The Museum of the Moving Image, Astoria, New York, US Passion in Venice, Museum of Biblical Art, New York, US Open Ears 2011, CAFKA, Open Ears Festival, Kitchner, Ontario, CA Influential Element: Exploring the Impact of Water, Long Beach Museum of Art, US Film Fridays Series (Screening), The Warsity Center for the Arts, Southern Illinois, US The Artist's Museum, Museum of Contemporary Art, Los Angeles, US Exchange Evolution, Long Beach Museum of Art, US Videosphere: A New Generation, Albright - Knox Art Gallery, Buffalo, New York, US Time and Place, Kunsthalle Detroit, Michigan, US Watch This!

Lico, who is currently co-chair for the Executive Committee for The Whitney Museum Contemporaries, invited these artists to tell a larger narrative of injustice and encourage audience members to engage in a discourse on systems of control.

According to Atlanta Contemporary executive director Veronica Kessenich, «We understood that we would need to undergo a major rebranding to market ourselves to a new, growing audience of people who are arts interested patrons, but also nonarts interested patrons... people who don't necessarily identify as an art lover, but who are culturally interested.»

Other featured artists include Italian - born, Anchorage, Alaska - based artist Paola Pivi who creates clever interactive musical experiences for Dallas Contemporary visitors in which audience members interact with colorful feathered bears based on ideas from Native American folklore.

«We hope to challenge preconceptions and provide a showcase to audiences who are already engaged, involved and who understand the ways in which contemporary African art is culturally defined.»

Alexander Gray, Alexander Gray Gallery (New York): «The advantage of exhibiting in Art Basel Miami Beach is the audience of collectors who appreciate the classic 20th century masterworks of art and the way they contextualize great contemporary works.

This exhibition is intended to provoke a dialogue and discussion with members of each host community while bringing the work of these young artists to the attention of audiences who would have few opportunities to view contemporary Japanese art.

Instead, audiences are more familiar with and engaged by multi-tasking artists who move fluidly between media, and for whom «pluralistic» describes not just contemporary art discourse but also their own individual practices.

Although nearly one hundred years have passed since the birth of Dada in Zurich and much has changed in terms of the initial purpose of the movement (which was founded to diminish social pretensions, ridicule the human situation, and force audience self - awareness by attacking their common assumptions about art), there are contemporary artists, like Boller, who employ similar forms, gestures and attitudes towards materials which like a steady heart seem to keep the beat of the movement alive.