Sentences with phrase «contemporary drawing practice»

Selected from original art works, it has established a reputation for its commitment to championing excellence, and promoting and celebrating the breadth of contemporary drawing practice within the UK.

It is not a survey of recent drawings but it seeks to function like a glass prism, that separates visible light into its colour spectrum, and reveals some of the constituent parts of contemporary drawing practice.

Selected from original drawings, the Jerwood Drawing Prize has established a reputation for its commitment to championing excellence, and to promoting and celebrating the breadth of contemporary drawing practice.

Selected from original drawings, the Prize champions excellence and promotes and celebrates the breadth of contemporary drawing practice within the UK.

A snapshot of contemporary drawing practices, the exhibition includes more than 200 new and recent works on paper by leading international artists, including the Still Life with Screen and Heart (2016) by David Haines.

His work was recently included in Phaidon's Vitamin D2, a survey of contemporary drawing practices.

Not exact matches

Aimed at an international audience of practitioners and policymakers, it tackles contemporary themes in early childhood, with contributions from both foundation - supported projects and outside experts drawn from the fields of practice, policy, and academia.

But regular practice alone isn't Drawing down the Moon (also known as drawing down the Goddess) is a central ritual in many contemporary Wiccan tradDrawing down the Moon (also known as drawing down the Goddess) is a central ritual in many contemporary Wiccan traddrawing down the Goddess) is a central ritual in many contemporary Wiccan traditions.

Thus, the book — which grew out of a series of three lectures — draws on a range of contemporary science and knowledge as Gardner reframes both the teaching and practice of old virtues within the constraints of a modern society.

Drawing on the latest knowledge in the areas of research, policy, and practice, the volume provides insight into contemporary challenges, misconceptions, and failed strategies while offering solutions and ideas for policymakers and educators.

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.

Murillo's huge and physically enveloping canvases (seen at Art Basel 20135), echo familiar threads through contemporary fine art painting practice — the energetic gestures and scribblings of Cy Twombly, the haptic scruffs and mixing of materials of Antoni Tàpies and Anselm Kiefer, the calling out (in script) of Colin McCahon6 and the drawing, foodstuffs and performances of Joseph Beuys and William Pope.L.7

At Fourteen30 Contemporary, Rafferty, a participant in this year's Whitney Biennial, presents new work concerning language and the body, a connection bridged through the concept of «figure drawing,» which applies both to the classical practice of artists observing and representing a model as well as using the innate elasticity of words to suggest multiple, sometimes contradictory meanings.

Its principal focus is the representation of an international group of contemporary artists whose diverse practices include painting, drawing, sculpture, video, photography, and performance.

He draws from a history of radical art practices from Soviet avant - garde figures such as Rodchenko and Malevich, to more recent contemporary American artists Jimmie Durham and David Hammons.

The first solo show in an Italian museum of Chinese artist Ding Yi will propose a journey of about forty paintings and drawings, a sculpture and an installation that requires the interaction of visitors, which aims to bring the public closer to the man considered to be the most important abstract painter in contemporary China, by presenting his complex artistic practice and evolution from the nineties to the present day to the public.

Characteristic of his practice, Il Lee continues to find new ways to expand the boundaries of contemporary drawing and painting.

His work occupies a unique place within the practice of contemporary photography, employing anachronistic production techniques, borrowing from the aesthetics of the finest figurative painters of the 19th and 20th centuries, and drawing upon the longstanding tradition of vanitas imagery.

Through paintings, drawings, sculptures, installations and documentation, the exhibition will trace the development of Ibrahim's practice and its enduring influence on contemporary art in the UAE.

Its principal focus is on the representation of contemporary artists whose diverse practices include painting, drawing, sculpture, video, and photography.

The relationship between drawing and sculpture is particularly interesting in contemporary art practice; Antony Gormley is one of the most eloquent artists when it comes to articulating ideas that pertain to individual perception, collective needs, intellectual processes, or the applications and development of a visual language to assuage the spiritual or emotional privations of the modern world.

Pratt Institute's M.F.A. Painting and Drawing Curriculum offers students a broad but rigorous studio practice, highlighting students» individual development and focusing on an understanding of the significant concerns that constitute contemporary art today.

The uniqueness of the artists» works as drawing both mirrors and is a major contribution to practices of contemporary drawing.

Nine contemporary artists, representing an array of artistic practice, will be in residence over two, six - week sessions, drawing inspiration from Wave Hill's gardens and unique natural setting.

Sarah's art practice incorporates performance, video, documentary, installation, community engagement, social practice and drawing and aims to blur the boundaries between popular culture, community engagement, art education and contemporary art.

Drawing upon social - sculpture practice where other strategies have failed, Saro - Wiwa advances different ways of knowing about the Niger Delta and its global implications while prompting a reconsideration of the parameters of contemporary «Afropolitan» identities — a term coined in 2005 by writer Taiye Selasi to describe the transnational experience of a new generation of globally mobile Africans.

Drawing on the ideas explored in one of our current exhibitions Painting in the 2.5 th Dimension, the panel of leading artists, writers and curators will discuss contemporary painting practices that rethink the conventional mediums of the discipline.

Led by artist and Creative Director Calle Henzel and Joakim Andreasson, the studio collaborates directly with prominent contemporary artists to translate their respective practice, whether it be painting, drawings, photographs, collages, reliefs or sculpture on to this unusual medium.

A Rail Curatorial Project lead by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

Glass Gallery Curated by Phong Bui and Rail Curatorial Projects A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

As firm proof of the fair's intention to foster contemporary creative practice, for the ninth year the Daniel and Florence Guerlain Foundation will award a contemporary drawing prize.

Both have the mission to preserve them, publicise their content and support research on contemporary artistic practices that draws on these documents as its raw material.

His work can be seen in the files of Museo del Barrio, N.Y.; Drawing Center, N.Y.; the flat files at Pierogi 2000, Brooklyn N.Y.; and Heskin Contemporary, N.Y. Currently he co-manages «Rumpelstiltskin,» an exhibition art space for aesthetic research in south west Guadalajara, Mexico, where he has curated Paranormal Bureu, a multimedia show with three artists from Brooklyn N.Y. My unorthodox practice links me to a generation of artists with a very wide range of approaches to art, that question the interest of the establishment particularly in museums and commercial venues.

2014 Ayelet Danielle Aldouby, Curator & Co-Founder, Artea Projects Harutyun Alpetyan, Independent Curator, Armenia Marco Antonini, Executive Director & Curator, NURTUREart Rocio Aranda - Alvarado, Curator, El Museo del Bario Karen Archey, Independent Curator & Critic, NYC and Berlin Nova Benway, Assistant Curator, The Drawing Center Boshko Boskovic, Program Director, Residency Unlimited Marie Burns, Program Manager, apexart Ethan Cohen, President & CEO, Ethan Cohen Fine Arts Irina Danilova, Independent Curator Eva Diaz, Critic & Assistant Professor of Contemporary Art, Pratt Institute Erin Donnelly, Independent Curator & Programs Manager, Smack Mellon Juliana Driever, Independent Curator, Writer, and Educator Shlomit Dror, Independent Curator Jason Duval, Artist & Independent Curator Alessandro Facente, NARS Special Projects Curator Jane Farver, Independent Curator Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts Carter Foster, Steven and Ann Ames Curator of Drawing, Whitney Museum of American Art Anna Frost, Independent Curator, Berlin andCopenhagen Asya Geisberg, Owner & Director, Asya Geisberg Gallery Jessica Gildea, Programs Director, CUE Art Foundation Jan Hanvik, Executive Director, Clemete Soto Velez Cultrual Center Larissa Harris, Curator, Queens Museum Eric Heist, Founder & Director, Momenta Naomi Hersson - Ringskog, Executive Director, No Longer Empty Felicity Hogan, Artist, Independent Curator & Senior Program Officer, New York Foundation for the Arts (NYFA) Learning Jin Young Hwang, Co-Founder, K&H Art Advisory Inc Tzu - chieh Jian, Independent Curator & Critic, Taiwan Paddy Johnson, Founding Editor, Art Fag City Rhiannon Kubicka, Co - Owner / Co-Director, Blackston Gallery Omar Lopez - Chahoud, Independent Curator & Artistic Director, UNTITLED Stephen Maine, Artist, Critic & Independent Curator Julie McKim, Director, Kunsthalle Galapagos John Moore, Independent Curator & Critic Isabelle Normand, Independent Curator, Paris & Los Angeles Isin Önol, Independent Curator, Vienna Douglas Paulson, Residency Director, Flux Factory Vittoria Pavesi, Independent Curator, Italy Laurel Ptak, Director, Triangle Arts Association Sara Reisman, Director, Percent for Art, NYC Department of Cultural Affairs David A. Ross, Independent Curator & Chair, MFA Program in Art Practice, School of Visual Arts Cindy Rucker, Owner & Director, Cindy Rucker Gallery Sebastien Sanz Santamaria, Director of Operations, Residency Unlimited Krista Saunders, Curator & Co-Founder, Ground Floor Gallery Keith Schweitzer, Co - Founder / Director, The Lodge Gallery and Director of Public Art, Fourth Arts Block Bernard Schutze, Independent Curator & Critic, Montreal Felipe Scovino, Independent Curator Eric Shiner, Director, Andy Warhol Museum Carolyn Sickles, Director of StudioLab, Abrons Arts Center Sarah Suco Tores, Independent Curator Yulia Tikhonova, Independent Curator Jodi Waynberg, Executive Director, Artists Alliance Inc..

Utilizing drawings, paintings, collages, photography, sculpture and participatory installations, Darkeem's practice often incorporates a craftwork sensibility that combines traditional with contemporary aesthetics, while drawing upon cultural and historical memory.

Next to drawing, watercolor is one of the most common methods of creation and a number of contemporary artists have decided to devote their practice to the mastering of this technique.

A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, OCCUPY MANA focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

The exhibition will feature recent and new works by a selection of contemporary arts who draw from Ellsworth Kelly's enduring legacy in their varied practices.

David Brian Smith is one of a few interesting painters represented by Carl Freedman — including, for example Michael Fullerton and Ivan Seal — all of whom draw on the conventions, genres and histories of painting in their contemporary practice.

Like all previous editions of Traces, the current exhibition sets out to map contemporary practice in the field of drawing in Israel; to outline directions and inclinations, while emphasizing the conceptual and thematic transformations that occurred in this dynamic — traditional, yet constantly renewing — medium in recent years; and to sustain a dialogue with the previous biennials.

MassArt's 2D graduate program blends both traditional and contemporary practices of painting, drawing, and printmaking.

Common Practice New York draws inspiration from Common Practice, London, an affiliated advocacy group working for the recognition and fostering of the small - scale contemporary visual arts sector in England, and founder of the Common Practice Network.

With the advent of postmodernism, artistic practices have splintered into an ever - widening variety of possibilities that has redefined the role of drawing in the contemporary art world.

Artissima 2017 introduces a new section dedicated to the most relevant developments in drawing as an undisputed medium for contemporary artistic practice, curated by João Mourão and Luís Silva.

Mathias's position is to push the boundaries and to demarginalize the practice of drawing by integrating it into the context of contemporary art.

When we set out we deliberately chose not to impose a curator's definition of drawing on our programming and decided to allow our research into contemporary practice find its own path.

It explores the rich diversity of contemporary practice in Chinese drawing, printing and painting on paper in the 21st century.

We take the idea of drawing as a framework to investigate the multiple roles it plays in contemporary practices.

His first solo exhibition was a Sanchez Cotán in Trondheim, Norway in 2009 and recent projects include The devil finds work for idle hands at Toomey Tourell Fine Art, San Francisco (2012) and Drawology: drawing as phenomenology at the Bonington Gallery Nottingham, and the co-curation of A Machine Aesthetic at Gallery North, Northumbria University, The Gallery, The Arts University Bournemouth, University of Lincoln, Norwich University of the Arts (2013 - 2014) where eleven contemporary artists were invited to explore the various manifestations, uses and influences of different aspects of mechanisation within their practice.

Curatorial Talk: Rosario Güiraldes of the Drawing Center Thursday, March 29, 2018, 6:30 — 8 pm Presented in conjunction with the exhibition Copy, Translate, Repeat: Contemporary Art from the Colección Patricia Phelps de Cisneros Güiraldes will be discussing her curatorial practice at the Drawing Center and in her past projects, engaging with and expanding on themes and questions brought up by the exhibition on view.