Sentences with phrase «developed by different artists»

Not exact matches

By stretching lengths of yarn horizontally, vertically, or diagonally at different scales and in varied configurations, the artist developed a unique body of work that elaborated on the phenomenological experience of space and volume with unwavering consistency and ingenuity.

Inspired by the Norwegian, Swedish and Danish coastal geography and cultural history the internationally renowned artist Susan Philipsz develops a land border sound installation to be implemented in nine different places from May to September 2014.

The medium of ceramics is shared by Craft, Goldberg, and Jaeger, and although each artist develops it in a different direction, the experience of determining the shape, color, and texture of this material stimulates an attention to tactility on the part of the viewer.

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.

Young artists will develop a portfolio of artwork while building technical skills through weekly group instruction, led by teaching artists, that explore different mediums, techniques and tools for art making.

* Café Tschihold is the name of a concept developed by a group of artists and designers (Emiliano Godoy, Terence Gower, Sonia Lartigue, Edgar Orlaineta and Tilman Wendland) to generate dialogues, events and situations integrating different formal languages, techniques and manifestations concerning Architecture, Design, Craft, and Art in general with the principle of not limiting these activities by their historical definition.

Each chosen by a different CAMH curator, the artists worked with them to conceptualize and develop their respective installations.

Works by four pioneering artists who, though active in different places and periods, developed similar visual languages, are brought together...

It encourages collaboration by inviting artists from all over the world and different media to experiment with advanced technological tools and delivery systems, and to develop new work.

Works by four pioneering artists who, though active in different places and periods, developed similar visual languages, are brought together for the first time to shed new light on 20th - century abstract art.

It encourages collaboration by inviting artists from all over the world, and working in different media, to experiment with advanced technological tools and delivery systems, and to develop new work.

Works by four pioneering artists who, though active in different places and periods, developed similar visual languages, are brought together for the first time to...

LOCATION ONE»S INTERNATIONAL RESIDENCY PROGRAM The central purpose of Location One's International Residency Program is to encourage collaboration by inviting artists from all over the world and different media to experiment with advanced technological tools and delivery systems, and to develop new work.

The artist developed a style in her large - scale works that challenges a traditional linear art history; these works were influenced by a wide range of images from different cultures, including techniques from Persian miniature painting, studies on the female body and subjectivities, and science fiction.

In 1967 he began to work outside traditional exhibition spaces, with the first instances of that «creative collaboration» he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society.

This is not seen more clearly than by comparing the works of artists such as Brown, Wiley, De Forest, Arneson, etc, who, despite working closely with each other throughout their careers, would nevertheless develop radically different visual styles.

«This exhibition will show different methods and styles developed by artists from Kyiv and other corners of Ukraine.

The artist also used the pointillism method, a technique developed by impressionist artist George Seurat and Paul Signa.From afar your eyes would only notice a composition of perfectly aligned contrasting shapes on canvas, but once up close you will see the different textures and hidden colors you weren't aware of.

With their precise, economical style, the artists presented a very different image of American abstraction from the one that had been developed by the New York action painters.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

«Museums can support artists in many different ways and I am delighted that through the extraordinary success of IMMA 1000, and the additional support by the Department, we have been able to support so many Irish artists works across our programmes and through our residency; providing much needed space and support for artists to think, reflect and develop new work.»

Indiana's impulse to appropriate industrial materials was influenced, in part, by the alternative zeitgeist of the rising generation of artists in late 1950s New York, who (whilst Abstract Expressionism was flourishing uptown) developed a burgeoning interest for a different kind of art in Lower Manhattan's deserted shipping lofts at Coenties Slip.