Sentences with phrase «examine artistic practices»

The Shape of Things» is the second group exhibition at the Dot Project and examines the artistic practice of geometric abstraction in a contemporary context.

The exhibition examines artistic practices that conduct non-linear forms of historiography in order to make historical presence legible and affective.

Curated by Clive Kellner, the exhibition, which fills more than 900 square meters of space, examines the artistic practice of Kendell Geers, which spans a variety of media and genres including installation, sculpture, drawing, video, performance, and photography.

Edited by Anthony Downey, this will be the first volume in a publication series examining artistic practices across North Africa and the Middle East.

The film then examines his artistic practice.

Not exact matches

For her second feature at Sundance (after her highly praised 2014 debut Little Accidents), writer / director Sara Colangelo has chosen to remake a four - year - old Israeli drama to examine the dying practice of encouraging and protecting artistic genius.

This exhibition examines a subject critical to artistic practice: the question of when a work of art is finished.

Shiva Ahmadi's practice borrows from the artistic traditions of Iran and the Middle East to critically examine contemporary political tensions.

The exhibition presents some ten works each by six artists — Faramarz Pilaram (1937 — 1983), Parviz Tanavoli (b. 1937), Chohreh Feyzdjou (1955 — 1996), Shiva Ahmadi (b. 1975), Shahpour Pouyan (b. 1980), and Barbad Golshiri (b. 1982)-- examining their individual artistic practices -LSB-...]

Exhibition spans 500 years of drawing, including works by Peter Paul Rubens, Winslow Homer, John Singer Sargent, Michelle Stuart and more to examine the significance of the medium to western artistic practice and study

By opening up the often narrowly defined discursive field of «post-internet,» artistic practices are examined thematically within the larger context of digital culture.

This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to printmaking, from the resurgence of traditional printing techniques — often used alongside digital technologies — to the worldwide proliferation of self - published artist's books and ephemera.

Artist Leticia Obeid will discuss her artistic practice, which encompasses video, drawing, writing, and performance and examines authorship, distance, and the experience of reading, writing and observation.More

A year ago, the foundation partnered with Ballroom Marfa and the Public Concern Foundation to launch Marfa Dialogues / New York, a two - month series of public programs examining the intersections of climate change science, environmental activism, and artistic practice.

Approximately 40 — 45 works will comprise this exhibition shedding light on Pelton's artistic contribution to American Modernism, while examining her practice against a broader, international framework of spiritual and esoteric abstraction.

Examining the impact of time and space on identity constructions, places, and (hi) stories, these works record, critique, and expand the understanding of the social role of artistic practice.

The tendency to compartmentalize these artists provides a convenient label for the art world to assign artistic value but it frequently does so at the expense of examining the artists» work within broader cultural contexts and artistic practices.

The ISP provides a setting within which students pursuing art practice, curatorial work, art historical scholarship, and critical writing engage in ongoing discussions and debates that examine the historical, social, and intellectual conditions of artistic production.

The event will examine how art and writing institute a notion of territorial place — making, permanence, and action, as it explores writing as an extension of an artistic practice, as well as an element of practice itself.

Liquid Modernity is an exhibition that examines the legibility of data in artistic practice, primarily by way of printed media from the 1970s and 2000s.

It examines how the body, in all its myriad forms, has been and continues to be depicted, and articulates the relationship of these pioneering African American artists to contemporary artistic practices.

The 2015 Armory Focus examined contemporary cultural and artistic practice from the Middle East, North Africa and the Mediterranean.

Adriana Lara's projects often examines concepts relating to artistic production and originality, or various practices of systems and symbols.

Students come away with the ability to write clearly about their personal artistic practice and to examine methods of inquiry for art making and research, artistic influences and relationships to historical and contemporary printmaking.

«Unfinished: Thoughts Left Visible» examines a subject that is critical to artistic practice: the question of when a work of art is finished.

It also includes a two - day symposium (March 5 - 6) examining the diverse practices of artists, curators and collectors from Africa and the Diaspora through a series of panel discussions and video screenings, looking at new global phenomena in contemporary artistic production.

Blooming in the Shadows will examine work produced by these three significant groups of young artists in the critical decade after the end of the Cultural Revolution leading up the Communist Party's 1985 decision to allow modern artistic practices.

Cindy Sherman, in her artistic practice, has examined how different roles and conventions are significant for the modern person's — and particularly women's — self - image and self - understanding.

She developed an artistic practice of presenting fragments and gestures that examine and question social relations.

Leticia Obeid (b. Argentina, 1975) will discuss her artistic practice, which encompasses video, drawing, writing, and performance and examines authorship, distance, and the experience of reading, writing, and observation.

Even these two artists work in a various fields of mediums, both of their artistic practices examine and evoke our perception towards visual experiences through their works and projects.

Using visual and textual media of physical, digital, found and fabricated states, his work explores possibilities of an artistic practice that intersects with anarchist ideas of social and political praxis, engaging tensions between autonomy and authority while examining thematics of fiction, imagination, precarity, anxiety, urgency, and counterhegemony.

Through an engagement with some of the existing and on - going archival projects in South Asia and West Asia, this workshop examined the very practice of archiving in a digital world as it is conducted in research institutions as well as its appropriation in artistic practice.

The goal of this symposium is to examine the intersection of the artistic, theoretical, literary, and cultural dimensions of Bowling's practice.

Employing a multi-disciplinary approach to his artistic practice that includes sculpture, painting and photography, Smith's work examines the complexities of 21st century South Africa, through the acts of appropriation, defacement and reparation.

Alongside Art in General's exhibition programs that take place in New York and internationally, its public programs and publications examine critical and timely issues in artistic and curatorial practice.

In his extremely diverse artistic practice, he examines the relation of contemporary art to art history and the role of the artist, authorship, and spectatorship.

This group exhibition showcases five international artists from different generations — Curtis Anderson, Louisa Clement, Owen Gump, Sigmar Polke and Anna Vogel — whose diverse photographic - artistic practices examine the possibilities of the image and see its contents as ephemeral traces of external reality.

The programme consists of four exhibition formats: thematic group shows which examine the connection between the Stenersen Collection and a broader historical context; retrospective solo exhibitions of artists in the Stenersen Collection; solo exhibitions of younger Norwegian painters; and curatorial projects that draw parallels between contemporary artistic practice and the Stenersen Collection.

examines a pioneering group of African American artists whose work, connections, and friendships with other artists of varied ethnic backgrounds influenced the creative community and artistic practices that developed in Los Angeles during this historic period (1960 — 1980).

She employs conceptual and methodological approaches borrowed from artistic and academic practices such as theater, film, anthropology, linguistics and journalism, to explore new representational strategies that examine and interrogate the allegorical character of the present political moment.

In this work, he used his own artistic practice to examine his relation to the language of power used in the art world while deconstructing its authority and influence at the same time.

New Methods was a three - day symposium that sought to «[examine] the practices of contemporary arts organizations that provide essential educational and professional development to local artistic communities in Latin America.»

This exhibition is built with artistic instruments and is examining the notions of the curatorial vs. the artistic practice.

Magdalen Chua (MC) interviewed the artists behind the exhibitions to find out about their individual practices and their collaborative approach to examine the place of subjective experiences as alternative ways to respond to artistic production and knowledge about the world.

His published work centers broadly on the conjunction of art and politics, examining the ability of artistic practice to invent innovative and experimental strategies that challenge dominant conventions, whether representational, aesthetic, or social and political.

His published work centers broadly on the conjunction of art and politics, examining the ability of artistic practice to invent innovative and experimental strategies that challenge dominant social, political, and economic conventions.

Co-published by Judd Foundation and David Zwirner Books, this publication examines Judd's robust writing practice over the course of four decades in which he composed pieces that challenged conventional artistic, critical, and political standards.

Using Hal Fosters 1996 essay «The Artist as Ethnographer» as a starting point and engaging with Iniva as a research resource, students examined a turn to ethnography / anthropology within artistic practice.

«Again for the First Time: Contemporary Remakings of Abstraction» is the first of two international group exhibitions, it examines the reconfiguration and contextualization of abstraction in recent artistic practices.