Sentences with phrase «contemporary visual culture as»

A «critically engaged» artist is an artist whose practice is relevant to the current discussion and forms of contemporary visual culture as defined by a wide network of art world professionals.

It is humbling to be at the helm of this powerhouse of contemporary visual culture as we mark our 50th birthday, and to celebrate the impact that artists and their ideas have had on millions of visitors like me over the decades.

Not exact matches

As Joseph Epstein recently observed, after Andy Warhol, serious people no longer need pay attention to it: «Contemporary visual art, perhaps for the first time in the history of painting and sculpture, is one of those things a cultured person no longer has to know.»

The exhibition, the artist's first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology.

With the Creative Package, you'll be kept up - to - date with current trends as they develop across the international art world, and will gain insights into the work of leading practitioners shaping contemporary visual culture.

Panelists include Brian Wallis, Curator of the Walther Collection and former Chief Curator of the ICP; Paul Milkman, scholar and author of PM: A New Deal in Journalism 1940 - 1948; Jason Hill, Associate Professor of Modern and Contemporary Art and Visual Culture at the University of Delaware and author of the forthcoming book Artist as Reporter: Weegee, Ad Reinhardt, and the PM News Picture and Laetitia Barrere, Andrew W. Mellon Postdoctoral Curatorial Fellow at the Metropolitan Museum of Art.

Most of my artistic output as an adult (and, come to think of it, much of it as a kid as well) deals with the continuous visual narrative of the so - called perfect life that the contemporary (and omnipresent) media culture constantly presents to us.

Recent solo and major notable museum exhibitions include; «Enlightened Princesses; Caroline, Augusta, Charlotte and the Shaping of the Modern World», Yale Center for British Art, New Haven, Connecticut, USA tours to Kensington Palace, London, UK (2016 - 2017); «Paradise Beyond» Gemeentemuseum Helmond, Netherlands (2016); «Recreating the Pastoral», VISUAL Centre for Contemporary Art, Carlow, Ireland (2016); «End of Empire», Turner Contemporary, Margate, England (2016); «Wilderness into a Garden», Daegu Art Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (2011).

We view the project as an extension of the studio's ongoing interest in contemporary visual culture.

Many contemporary artists such as Nan Goldin, Catherine Opie, and Wolfgang Tillmans have utilized the conventions of portraiture to record their own individual communities, giving visual form to subcultures that have often gone unrepresented in mainstream culture.

Few contemporary artists have developed a visual vocabulary as immediately recognizable as the Chicago - born artist Christopher Wool's — and what's remarkable is that he was able to achieve this distinction across a number of different series, from his influential text paintings to his elegantly minimal canvases marked by fences and other repetitive forms to his dynamic gestural abstractions that borrow from graffiti culture.

He works on issues of performance and performativity in the contemporary visual arts, as well as on queer theory, queer cultures and their histories.

Laric's claim that we understand visual culture as something unstable, continuously under construction and ever negotiating between the human and the non-human, challenges most fields in contemporary life.

The line - up will consist of film, exhibitions, talks and debates, literature, music, politics, visual arts, fashion and cuisine, including: Light from the Middle East, an exhibition of contemporary photography from the Middle East, an evening of song with Emel Mathlouthi, a discussion of the role of art and culture in Syria with journalist Malu Halasa and an evening with poet Al Saddiq Al - Raddi whose work reflects his identity as an African poet writing in Arabic.

Exploring and questioning contemporary life through visual imagery, the approach of Pictures Generation artists is particularly relevant in understanding our current image - oriented culture and decoding the roles that images play as forms of representation, as icons, and as symbols.

Since then, she has received numerous grants and awards, including an AVEK - award for important achievements in the field of audio - visual culture (1997), the Edstrand Art Price (1998), a DAAD fellowship (1999), honorary mention at the 48th Venice Biennale (1999), the Vincent Van Gogh Bi-annual Award for Contemporary Art in Europe (2000), and a five - year grant from the Central Committee for the Arts (2001), as well as the Artes Mundi Prize (2006).

Exploring and questioning contemporary life through visual imagery, her approach is particularly relevant in understanding our current image - oriented culture and decoding the roles that images play as forms of representation, as icons, and as symbols.

Contemporary art values its Deleuze and Guattari but not its Merry Melodies, a curious enigma when artists like Mike Kelley or Raymond Pettibon, who plumbed the depths of so called «low» visual culture, are so revered as innovators.

Focusing on post-medieval European and American art, the collection is outstanding in the fields of Italian and Northern Renaissance, Baroque, and nineteenth - century French art, the history of photography, and international contemporary art, as well as theory and visual culture.

The Mumbai Art Room is registered public charitable trust that exhibits contemporary art, design, and visual culture from India and foreign countries, this organization provides a non-commercial platform for artistic and curatorial practice, one that is experimental, educational, and as accessible as possible to all audiences.

As it begins a fourth successive tour of galleries throughout Britain, this public collection of contemporary art is changing the very fabric of our visual culture.

As St. Louis» forum for interpreting culture through contemporary visual art, the Contemporary connects visitors to the dynamic art and ideas ocontemporary visual art, the Contemporary connects visitors to the dynamic art and ideas oContemporary connects visitors to the dynamic art and ideas of our times.

As the Native Arts and Cultures pilot Mentor Artist Fellowship approaches its six - month mark, we'd like to update our followers on the progress of our 2017 cohort, twelve traditional or contemporary visual artists who are sharing their knowledge as mentors,.As the Native Arts and Cultures pilot Mentor Artist Fellowship approaches its six - month mark, we'd like to update our followers on the progress of our 2017 cohort, twelve traditional or contemporary visual artists who are sharing their knowledge as mentors,.as mentors,...

According to MoMA, «The presentation reveals White as a responsive visual strategist who was open to exploring styles and techniques inspired by contemporary art and culture, and a savvy interpreter of an evolving political climate.

The event focuses on «the body as an object and a brand», exploring its representation within the public realm and within contemporary visual culture, and how they, in turn, affect one's relationship with his / her own body as it continues to be «disciplined by technological mediation on screen».

Join Gold Award artists Jason Benjamin, Kate Bergin, Victoria Reichelt and Kate Shaw as they discuss their practice and the role of art prizes in contemporary visual arts culture.

In the exhibition we see the subversive creativity and the physical, ironic language used in Hail reflected in the work of contemporaries of Clark and Atlas's day, as well as among modern - day artists active in visual art and dance, music and pop culture, with their rebellious expressions.

To the past honorees, however, among whom I feel especially humbled and privileged to share this honor, I'd like to thank you for your example and achievements that have enriched us all: Andrea [Barnwell Brownlee], whose ambitious and inspired curatorial work gives voice to women artists of the African Diaspora; Jerry [Cullum], a visionary writer whose genius lies in his ability to synthesize the experience of art with poetic complexity; Louis [Corrigan], a trailblazing community leader whose innovative ethos and generosity has rekindled the boundless spirit of Nexus; Lisa [Cremin], a leader of responsible and responsive philanthropy who personifies the idiomatic true north for the arts in Atlanta; Lucinda [Bunnen], a brilliant artist and pioneering collector who established photography as an essential feature of contemporary visual culture in our city... and at the High Museum; and Susan [Bridges], den mother to us all, whose generosity of spirit is set off by her unshakable personal integrity.

Described as «Featuring up - to - the - minute visual material, fresh faces and original voices, the magazine covers and uncovers new trends and talent in contemporary visual culture.

Ruang MES 56's aim is to «develop contemporary art discourse and visual culture, while also optimize art network in the South East Asia region» through initiatives such as residencies, discussions, exhibitions and projects.

As a University Art Gallery the Whitworth sees its role as a creative laboratory for ideas about contemporary visual culture and actively prioritises the collection of art, both British and international, that interrogates place, politics and identitAs a University Art Gallery the Whitworth sees its role as a creative laboratory for ideas about contemporary visual culture and actively prioritises the collection of art, both British and international, that interrogates place, politics and identitas a creative laboratory for ideas about contemporary visual culture and actively prioritises the collection of art, both British and international, that interrogates place, politics and identity.

My interest in African and African Diaspora visual arts, critical theories of contemporary art and visual culture, African and non-western theory, notions of the «primitive», «intuitive» and «self taught» artists and ideas of the «other» have always been a corollary to my thinking as a result of my background of working in the arts in the Caribbean.

She has contributed to numerous books on contemporary visual culture with essays on artists such as Maurizio Cattelan, Luc Tuymans, Douglas Gordon, and Marina Abramovic.

The first project to explore the visual art, poetry and music of one of America's most inventive yet under - recognized contemporary Native American artists, this exhibition will survey Cannon's highly productive but short career; his development of a unique and hybrid visual vocabulary; and his combination of irony and wit with a reverence for community and tradition to interrogate American history and popular culture; as well as the issues wrought by colonialism, hegemony, and historical amnesia — all through his Native lens.

A preeminent authority on contemporary visual culture, she has organized exhibitions and written extensively on conceptual photography, Matthew Barney's Cremaster cycle, and on artists such as Joseph Beuys, Tino Sehgal, and Richard Prince.

Both galleries presented works by Latin American photography masters as well as the contemporary artists defining new traditions in Latin American visual culture.

Seminars, site visits, individual meetings, and roundtable discussions will be led by a group of professionals that includes Andrea Andersson (Chief Curator of Visual Arts, CAC New Orleans), María del Carmen Carrión (Director of Public Programs & Research, ICI), Tumelo Mosaka (independent curator, New York), Beatriz Santiago Muñoz (artist, San Juan), Valerie Cassel Oliver (Senior Curator, Contemporary Arts Museum Houston), Elvira Dyangani Ose (Lecturer in Visual Cultures, Goldsmiths, University of London and Curator of the 8th Edition of the Göteborg International Biennial for Contemporary Art, GIBCA 2015), Renaud Proch (Executive Director, ICI), Franklin Sirmans (Artistic Director, Prospect.3, New Orleans and Terri and Michael Smooke Department Head and Curator of Contemporary Art, LACMA, Los Angeles), and Claire Tancons (independent curator, New Orleans), as well as the soon - to - be-announced Artistic Director of Prospect.4, among others.

Early house and rave culture provided a model of democratization of culture, just as contemporary visual artists consider their use of the internet now.

Through Cannon's personal anecdotes and their joint analyses of selected works by artists who have relationships to both places, Cannon and Nichols will examine the ways in which the black body creates meaning as it moves through these two cityscapes, the transmission of that meaning between the two cities through 20th Century migrations, and its impact on contemporary visual culture.

From 2013 — 15 she led the multi-part curatorial project Landings, with Vivian Ziherl, presented at the Witte de With Center for Contemporary Art, David Roberts Art Foundation, NGBK (as part of the Tagore, Pedagogy, and Contemporary Visual Cultures network), the Stedelijk Museum Amsterdam, and other partner organizations.

A journal of contemporary art and visual culture, NOON was established in 2008 by the Gwangju Biennale Foundation to overcome the limitation of the biennial as a one - off exhibition and provide a platform for a strong and continuous connection between the biennial and contemporary practices and discourses of art, culture and society.

Poster House is dedicated to presenting the impact, culture, and design of posters, both as historical documents and methods of contemporary visual communication.

By employing contemporary art as a medium for the production of knowledge and education and presenting it along with objects of visual culture, the initiative seeks to open up an experimental sphere of activity for the epistemic value of images and objects within the university.

Art & Activism in Contemporary South Africa This lecture by Annie E. Coombes, Professor of Material and Visual Culture at Birkbeck College, explores women's art practice in South Africa as an alternative political space.

She is currently writing a chapter on (in) visible space that covers the visual essays, as part of the anthology to be published from the Contemporary South Asian Youth Cultures and Fashion conference, at London College of Fashion, edited by Professor Reina Lewis.

Bringing together over 50 posters that celebrate 100 years of contemporary visual culture, this book is a fitting tribute to the exhibition that has launched the careers of many artists as well as an absorbing journey through changes in poster design and typography.

The focus of Maria's research is to investigate the «female Oriental Other» as perceived historically within Western social discourses and the extent to which this perception projects / impacts upon her voice and representation within contemporary visual culture today.

Like his fellow Superflat artists, Mr. approaches the visual language of manga as a means of examining Japanese culture at large, fusing hi and low forms of contemporary expression.

Presented as a series of filmed conversations between Aitken and celebrated cultural figures from diverse media including visual art, architecture, film, new media and music, The Source leads us to new frontiers of contemporary culture.

Ashton Cooper uses Katrina Andry's latest exhibition at Staple Goods as a lens to explore how street harassment is being addressed in contemporary art and visual culture.