Sentences with phrase «context than artists»

Pop music, for example, is much more dependent on context than artists who use it as a reference often seem to suggest.

Not exact matches

Apart from my own contribution, and a few others, the emphasis here was, very much on the form of the art, how it was produced, who the artists were and their social context, rather than its message.

The presented artistic contexts and conceptual positions in these four female artists» practices include references to mainstream comedy's systems and authors, and some are more explicitly gendered than others with literal and implied connections to the female body.

Conceived by Exit Art's founders, Papo Colo and the late Jeanette Ingberman, this volume is a resource on more than 200 exhibitions, events, festivals and programs featuring more than 2,500 artists, presented within the larger context of the art world.

«Journeys with The Waste Land» includes work by more than 60 artists who have been inspired by T.S. Eliot's great modern lament, or whose art resonates in the context of the poem.

The symposium expands the scope of the Clyfford Still Museum's exhibition in Denver — which features 260 selections from more than 2,300 works on paper created by the artist — setting Still's virtuosity as a draftsman in the context of prints and drawings by colleagues such as Jackson Pollock, Barnett Newman, and Robert Motherwell.

Art in that context was perceived as standing on its own and possessing meaning in and of itself, requiring no reference to the artists who made it, other than singling them out for their achievement.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Scientific developments were rapidly changing the context of contemporary life and Yves Klein believed that as an artist the only way forward was to create a new realm for artistic exploration that reconnected people to the sublime rather than dwell in nihilistic emotion or existential angst.

The exhibition, which includes work by Alex Da Corte, Trevor Reese, and Justin Visnesky, focuses on «the landscape of a production and consumption based society» where «artists have taken on the role of editor rather than creator... [t] hrough selecting, documenting and ultimately placing objects in an art context.»

The fair and its sister fair, CONTEXT New York, will bring together more than 130 galleries showing the work of close to 1,200 artists from 50 countries.

The Sculpture of Ruth Asawa establishes the importance of Asawa's work within the larger national context of artists who redefined art as a way of thinking and acting in the world rather than as merely a stylistic practice.

Ghost House is installed in the temporary exhibition galleries where, rather than following chronological criteria, it creates environments that the artist describes as «built on memory», in which works from different periods are placed in dialogue with one another and with the museum context in the conviction that meaning can be found not only in the individual works but in their relationships, considered collectively and through time, like the narrative overlappings of a story.

Both works reflect the artist's interest in parapsychology, a field of inquiry that she has pursued for more than ten years, and which last notably materialized in a contemporary art context as the theme of Creative Time's 2006 group exhibition «Strange Powers.»

It provides contrast and context — more - so than any didactic references to the hyper masculine storyline we already know — for a group of artists who have been pushed to the margins of a movement, but who in that sense now get to redefine it.

Art fairs helped the gallery get greater international reach, push their brand and meet new clients, but artists prefer the showcase of the gallery exhibition rather than the art fair, as do collectors, who get to see the work «in context», he said, rather than one piece per artist in a fair - booth group show.

One of the most celebrated female artists of the twentieth and twenty - first centuries she has, for a period spanning more than thirty years, used make - up, prosthetics and props to present herself in the guise of numerous different personae, placed in contexts that draw on the visual conventions of film, television and the media.

Curated by Claudia Bohn - Spector and Sam Mellon, the exhibition seeks to recast Berman as an American rather than a strictly Californian artist, whose importance far transcends the regional context in which he is traditionally seen.

This reappraisal of the work of more than 100 women artists from Latin America or with Latino heritage — including Lygia Clark, Ana Mendieta and Marta Minujín — set their work in the social and political contexts in which it was created.

Collection, Cornell Fine Arts Museum, Orlando, FL Commemorating 30 Years (1976 — 2007): Part Three (1991 — 2007), Rhona Hoffman Gallery, Chicago, IL The Blake Byrne Collection, The Nasher Museum of Contemporary Art, Duke University, Durham, NC 2006 Do Not Stack, Roberts & Tilton, Los Angeles, CA Black Alphabet: ConTEXTS of Contemporary African - American Art, Zacheta, National Gallery of Art, Warsaw, Poland Down By Law, Wrong Gallery at the Sondra Gilman Gallery, Whitney Museum, New York, NY Hangar — 7 Edition 4, Salzburg Airport, Salzburg, Austria Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, D.C. Relics and Remnants, Jamaica Center for Arts and Learning, Jamaica, NY 2005 Maximum Flavor, ACA Gallery, Atlanta College of Art, Atlanta, GA Neo-Baroque, Tema Celeste, Verona, Italy Neovernacular, Turner Gallery, Los Angeles, CA Kehinde Wiley / Sabeen Raja: New Paintings, Conner Contemporary Art, Washington, D.C. 2004 Eye of the Needle, Roberts & Tilton, Los Angeles, CA Glory, Glamour & Gold, The Proposition, New York, NY She's Come Undone, Greenberg Van Doren, New York, NY The New York Mets and Our National Pastime, Queens Museum of Art, Queens, NY Beauty, Kravets + Wehby, New York, NY African American Artists in Los Angeles, A Survey Exhibition: Fade, City of Los Angeles Cultural Affairs Department, Los Angeles, CA 2003 Peripheries Become the Center, Prague Biennale 1, Galleria Nazionale Veletrzni Palac Dukelskych Hrdinu 47, Prague, Czech Republic Superreal, Marella, Milan, Italy New Wave, Kravets Wehby Gallery, New York, NY Re: Figure, College of DuPage, The Guhlberg Gallery, Glen Ellyn, IL 2002 Painting as Paradox, Artists Space, New York, NY Mass Appeal, Gallery 101, Ottawa, Canada Ironic / Iconic, The Studio Museum of Harlem, New York, NY Black Romantic, The Studio Museum of Harlem, New York, NY 2001 It's Bigger Than Hip Hop, Rush Arts, New York, NY

The sentiment was appreciated by curator and Pratt professor Greg Drasler, for whom «it's going to be fun rather than impressive [like the Seagram show]-- which isn't to say work isn't impressive, but the context is more fluid and much more understandable by these artists.»

However, within the wider context of this particular exhibition, such a judgement seems almost secondary because, as is so often the case, the principal issues and concerns arising out of exhibition work by Black artists in white gallery spaces revolve around the «politics» of these exhibitions, rather than the wok itself.

At the same time, many of my friends and peers, who were much younger than the artists we represented, were starting to develop their practices and careers as artists, but, I wasn't able to work with them in the context of Luhring Augustine's established program.

At Rupert the artist will continue his engagement with queer and Southern subjects as proxies of what Michael Taussig calls «effervescent», «no sooner emerged than» disappearing, the «exact opposite... of monuments», through repurposing the orchestral pit in stage architecture as the site for underscoring context and action alike in the «dressing» of scenes.

It kicks off by pairing an early Rothko with a Rembrandt, positioning the artist in a context far broader than modernism.

Occasionally, stories about (social) contexts or the artist's persona become more important than the works themselves, and gossip, artwork and the artist are mutually dependent on each other.

Rather than present only artists from the African continent in this project, In Context also considers the works of artists who, though they may have some interest in South Africa, have not visited the country or anywhere else in Africa.

Artists today must do more than express who they are and what they stand for: they need to do so in ways that genuinely contend with the increasingly compromised contexts in which they work.

Rather than just relying on the curatorial discourse in the context of the classroom, they seemed very aware that the best ideas start with the questions artists ask.

Figures involved in the historical moments of Conceptual art, Feminism, performance and experimental cinema, who opened art up to wider discursive contexts — such as Chris Burden, Gordon Matta - Clark, Dan Graham, Hélio Oiticica, Joan Jonas, VALIE EXPORT, Mary Kelly, Adrian Piper, Carolee Schneemann and Michael Snow — were among more than 150 artists presented in the Biennale, not to mention many others in the catalogue and online.

It's a poor first impression for any exhibition and especially for one of Turrell's work, which relies far more heavily on context than the work of other important artists.

Rather than simply repositioning vestigial studio junk in the context of a clean gallery space, Center immerses and transports the viewer to a separate reality of the artist's studio.

Context and circumstance can be artists» foes as easily as their friends, and no one knows that more than McArthur Binion.

More than 400 works by artists and designers including Paul Klee, Wassily Kandinsky, Marcel Breuer, Marianne Brandt, Anni Albers, Josef Albers and Laszlo Moholy - Nagy testify to the wealth of visions and the shifting social contexts that shaped the school up to its tragic end in 1933, when its remaining faculty members shut it down rather than work with the Nazis.

It symbolizes what Golden calls «an over-20-year constant conversation about art and art - making and the meaning of art in the context of life» with an artist who has influenced her as a curator perhaps more than any other.

Organized as it is in this purportedly bottom - up fashion, Mike Kelley in a way becomes the postmodern one - man show par excellence, more devoted to exhibiting the idiosyncrasies of the artist's practice than to positioning Kelley in any historical or wider artistic context.

SJMA's permanent collection of more than 2,000 twentieth - and twenty - first - century works of art, including paintings, sculpture, installation, new media, photography, drawings, prints, and artist books, has a special focus on West Coast art, seen in an national and international context.

But though the book groups artists together according to their race, English strives to focus on the art and its context rather than the artists» ethnic or racial identities.

Yet they make perfect sense in the context of Richter's art, though the process seems a lot more intuitive than the ways some commentators intellectualise the artist's thinking and working method.

But rather than a game that Li has deliberately put into practice, it is more fitting to see this creative context as one in which the artist embarks with the audience on a journey free of restrictions.

Sure, we've seen Vancouver stars from the 1980s, such as Jeff Wall, Jerry Pethick, Stan Douglas and Rodney Graham, but no memorable show that tried to put their accomplishments in a geographical context, never mind shows featuring more than stray pieces from artists who've come after.

Rather than emphasize continuity over time, the book emphasizes cross-generational connections, and much of the talk focuses on the historical context — direct and indirect — that informs the work of Mexico's vibrant contemporary artists, several of whom — such as Francis Alÿs, Melanie Smith, and Teresa Margolles — are included in the Modern's current exhibition, México Inside Out: Themes in Art Since 1990.

Ironically, it was within a similar context that Hirst would launch his own spin painting practice: having produced a number of early examples in his Brixton studio in 1992, the following year he set up a spin art stall with fellow artist Angus Fairhurst at Joshua Compston's street fair A Fête Worse than Death.

Just as white European figures are understood as representations of religious devotion, motherhood, power, wealth, and love, rather than as «white,» the artist presents figures whose beautiful and precisely rendered attributes, emotional bearing, inter-relationships, and geographically specific contexts seek to transcend generalizing categories and marginalizing reactions.

The show brings together more than forty artists whose works examine complex questions regarding sexuality, gender, violence, identity, and race in a political and social context.