Sentences with phrase «dynamic contexts at»
I have always loved the work of Bruce Conner, David Hammons, James Turrell and Paul McCarthy, and I see real opportunities to show both emerging artistsand established L.A. artists in dynamic contexts at LACMA.
https://www.artinamericamagazine.com/ Not exact matches
Creative and dynamic religious forces are finding their expression not in the context of the organized church, but in film, literature, and the arts, and also in some aspects of science and industry, where people are seeking ways to give institutional expression to their basic religious concerns while at the same time rejecting alliances with institutional religion.
Learning at the Waldorf School is a dynamic process, permeated with the power of imagination and working with spiritual, emotional and physical development of the individual within the social context.
Some are words from correspondents at the scene - valuable glimpses of a dynamic scene or context - and these need to go to decision - makers in a way that they can trust and assess.
«Dynamic nuclear polarization has a capacity to transform our understanding of biological structures in their native contexts,» says Whitehead Institute Member Susan Lindquist, who is also a professor of biology at MIT and one of the senior authors of the paper, which appears in the October 8 issue of Cell.
Advanced Pilates exercises are meant to be practiced in the context of a variety of exercises at different levels that work together to create a balanced, dynamic workout.
The stronger hardware makes a vast array of improvements possible: more complex AI, more NPCs on - screen at any given time, dynamic effects in more contexts, greater mission and side - activity variety, foliage density, the magnitude of level - of - detail phases, draw distance and much more.
Using movement in various learning contexts is a dynamic, brain - based way to engage and motivate students, differentiate instruction, create implicit learning opportunities, and enhance classroom management at all grade levels and in all content areas.
Beginning in 2011, we programmed an additional space at Kidd Yellin Studios in Red Hook, Brooklyn, allowing us to reach a dynamic neighborhood and grant artists a new context in which to engage with a vibrant arts community.
Emerging from the dynamic arts program at Goldsmiths College, University of London, in the late 1980s, Gillick expanded into social sculpture, cultural critique, and «Relational Aesthetics,» the critic Nicolas Bourriaud's term for art within a context of relationships.
Bureau works internationally with represented and invited artists at varying career stages to provide a platform and context for dynamic and innovative contemporary visual practice.
«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006
Within the context of Samuel Roy - Bois» current installation, Not a new world, just an old trick at SFU Gallery until December 14, this panel will unpack the dynamic between built environments and the fictional narratives suggested by architecture and art.
Set in context it is immediately clear what they mean with «decades to respond», the time it takes for the system to arrive at a new dynamic equilibrium, a lag caused by the thermal inertia mainly from the oceans.
This dynamic was at play also in the context of the Marrakesh Treaty, where the discussion revolves around the question of whether the EU is endowed with an exclusive or a shared competence to conclude the agreement.