Sentences with phrase «debate on contemporary art»

It quickly became a major forum for debate on contemporary art and architecture, and as such filled a gap between institutional representation and artistic production.

Hence whilst the artists behind the iron curtain were following current debates on contemporary art, they were not mimicking their achievements but only using Western practices as a point of reference.

Based between Guangzhou and New York City, she has hosted high school debates on contemporary art world issues, made fictional App to create space to talk about gender issues, organized meetings between scientist, artists and philosophers to address the possibility that we live in a simulation, and organize fictional panel taken place in the future.

She was co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk, and has edited or co-edited a number of anthologies on global exhibition histories, including «The Artist as Curator: An Anthology» (Mousse Publications, 2017), «The Biennial Reader: Anthology on Large - Scale Perennial Exhibitions of Contemporary Art» (Hatje Cantz, 2010), and «The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe» (MIT Press, 2005).

Not exact matches

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftContemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftcontemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

Iniva has published over 50 titles, including exhibition catalogues, artists» monographs and anthologies of new critical writing, which promote diverse perspectives on modern and contemporary art and advance critical debate internationally.

Dialogue is a keyword, and with the main focus on the audience, Kunsthal NORD functions as a platform for debate, communication and conversation about the current contemporary art.

Points of View: Jonathan T.D. Neil on the latest empassioned debate on art, money, markets and value; J.J. Charlesworth, in Dubai, on how contemporary art is driving the economy; Maria Lind on the power of bureaucracy; Mike Watson on the politics of the uselessness of art; Sam Jacob on preconceptions and disciplinary boundaries; Hettie Judah on Fashion in the museum and art on the catwalk; Jonathan Grossmalerman finds a new subject for his paintings; Oliver Basciano on off - space Project LALO in London & Los Angeles.

Jordan's emphasis on the intersection of art and politics in the twentieth century informs much of her academic research, and she is currently working on a book that places the aesthetic and political conflicts of Picabia's era in dialogue with more contemporary political debates.

1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong, New York A Drawing Show, Cable Gallery, New York Hover Culture, Metro Pictures, New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue) New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)

The show is a celebration of the independence and eccentricity of this legendary artist, whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation.

«Carol Rama: Antibodies» celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation.

With the commission, Haus der Kunst further reflects on the conditions of contemporary art today, along with what it means to act in the public with the artwork as the central statement around which public participation, discussion, debate, and exchange coalesces.

This widely debated idea took on a life of its own in the public realm not only in contemporary art, but also in popular culture and cultural studies.

2:45 P.M. Break 3 P.M. Panel Discussion 210 McKnight Art Center West (WSU School of Art and Design) Ulrich guest curator and WSU Assistant Professor of Art Ted Adler joins On the Verge artists Heather Mae Erickson and David East, and Kansas artist Conrad Snider, former studio assistant for artist Jun Kaneko, for spirited conversation and active debate on the contributions and changing nature of ceramics in contemporary aArt Center West (WSU School of Art and Design) Ulrich guest curator and WSU Assistant Professor of Art Ted Adler joins On the Verge artists Heather Mae Erickson and David East, and Kansas artist Conrad Snider, former studio assistant for artist Jun Kaneko, for spirited conversation and active debate on the contributions and changing nature of ceramics in contemporary aArt and Design) Ulrich guest curator and WSU Assistant Professor of Art Ted Adler joins On the Verge artists Heather Mae Erickson and David East, and Kansas artist Conrad Snider, former studio assistant for artist Jun Kaneko, for spirited conversation and active debate on the contributions and changing nature of ceramics in contemporary aArt Ted Adler joins On the Verge artists Heather Mae Erickson and David East, and Kansas artist Conrad Snider, former studio assistant for artist Jun Kaneko, for spirited conversation and active debate on the contributions and changing nature of ceramics in contemporary arOn the Verge artists Heather Mae Erickson and David East, and Kansas artist Conrad Snider, former studio assistant for artist Jun Kaneko, for spirited conversation and active debate on the contributions and changing nature of ceramics in contemporary aron the contributions and changing nature of ceramics in contemporary artart.

It covers everything from antiquities to contemporary work, as well as providing in - depth discussion of the latest art news and debates; exclusive interviews with the world's greatest collectors and artists; expert information on the market, authoritative guidance on collecting, and reviews and previews of exhibitions worldwide.

The talks are part of an ongoing programme to promote debate on the issues, actions and attitudes employed in the diversity of contemporary fine art practice.

Based on various contemporary international and local, aesthetic, social and political issues Tranen seek to be an open platform for debate and reflection on contemporary art in general.

On Thursday, the Aspen Art Museum will host The Great Debate, a forum where presenters will confront one of the most fundamental questions of contemporary aArt Museum will host The Great Debate, a forum where presenters will confront one of the most fundamental questions of contemporary artart.

This online platform brings together international perspectives on contemporary performance and cross-pollination in the arts with debates about vital issues facing our community here in Austin.

From the concept of an «Imperfect Chronology» to the debate on Modernism's alternative histories and how they have shaped contemporary artistic practice in the Arab world, the event unpacks definitions of «Arab art», considering its diasporic and multiple identities.

Persistent debates about the Turner's relevance, both inside and outside the professionalized art industry, tell us that the art system is fascinated by its own politics and worries about contemporary art's traction on society.

Open to all Contemporary Art Society Museum Members, the scheme aims to provoke an examination of collecting practice that has a wider impact beyond the acquisition of the awarded work and act as a focal point for debate on gender imbalance in museum collections.

This has meant that past works are now allowed into an exhibition that typically fixated on recent art in its intention to, as the Turner Prize blurb puts it, «promote public debate around new developments in contemporary British art.»

The exhibition is designed to trigger a debate on contemporary figurative art in the work of forty - six international artists selected to mark the prestigious European award.

Her research focuses on contemporary practices inbetween art and architecture and the recent developments and debates around contemporary exhibition making.

Other programme includes a focused case - studies of works from the collection, entitled Study, in which a single artwork is shown on its own and studied in depth, everything from its technique to its position in contemporary art debates.

By enabling artistic production, critical debate and dissemination of contemporary visual art in the three dimensional form, we help to develop the careers and reputation of artists and an understanding of their artistic practice on a local, national and international level, making GSS a vital platform for all who wish to understand, participate in and embrace contemporary three - dimensional artistic practice.

The Biennial launched on Monday with the March Meeting symposium, a platform for artistic debate, featuring high - profile speakers such as architect Rem Koolhaas, former Guggenheim Director Thomas Krens, as well as a number of prestigious art institutions such as the Townhouse Gallery, the Tashkent Biennial, Birzeit's University's Virtual Gallery and Ashkal Alwan for Contemporary Arts.

A lot of debate centered around modern and contemporary art has been based on the problem of meaning.

With an interest in «popular culture across borders», The Gopher Hole looks to curate ideas and to facilitate critical debate on contemporary culture, the arts and society.

Join Barry Schwabsky and a panel of leading painters - all graduates of The Cooper Union's School of Art - and critics for a lively debate on the state and shape of contemporary painting and its critical reception.

This year's Turner Prize 2014 shortlist may be short on star names but it looks set to stir up as much debate as ever about the contemporary art scene.

«On balance contemporary art probably benefits from the debate.

Controversy has also stemmed from Martin Creed's Lights Going On and Off (winner 2000), Langlands and Bell's 2004 nomination for The House of Osama bin Laden and Simon Starling's Shedboatshed (Mobile Architecture No 2)(2005), but it is interesting to note that the ire of the press has not been matched by the public, and for many The Turner Prize has become an innovative introduction to contemporary art practice, welcoming engagement and debate outside the usual demographic of gallery - goers.

Our publishing programme focuses on promoting the work of unknown and artists, writers and thinkers whose perspectives on modern and contemporary visual art and culture challenge and provoke international discussion and debate.

Sturtevant and her rigorous, committed conceptual strategy are central to ongoing debates on the concept of originality in contemporary art and beyond.

As a result, contemporary art rarely incites mainstream debate, and on the rare occasions when it does, the discussion circulates around what does, and does not, constitute an offence to moral sensibility.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

In parallel, the first 2018 edition of the debates of Dauphine Culture will be held in the Auditorium of the Cité internationale des arts and will invite to examine the articulation of Culture in French diplomatic politics in order to identify the actions implemented today and their stakes on the contemporary international scene (6:30 pm).

The intrusion of civil society into the rarefied gallery world sparked a wave of debate on arterimalaysia.com, a Web site begun in February this year that's devoted entirely to Malaysian contemporary art.

Christopher Wool has punctuated the art world with works that have reinvigorated recent contemporary debate on the changing status of painting.

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch

This show contributes to the heated debate over the relationship between contemporary art and digital technology by cleverly focusing on the idea of «windows.»