Sentences with phrase «exhibition in the way we understand»

«And while «Jason Moran» is a solo show, it's also a group exhibition in the way we understand innovation and experimentation in relation to other artists.»

Not exact matches

Visit the Exhibition section to learn about critters that live in the soil and help to create and sustain it, explore ways to protect the soil, and understand how soils touch our daily lives.

The exhibition highlights the power and complexity of contemporary Indigenous photography, and the way in which Indigenous artists draw upon a rich mixture of history, personal experience, blak humour, as well as postmodern and postcolonial theories, in order to generate new perspectives and understandings of the social, political and cultural conditions faced by Indigenous and non-Indigenous Australians.

This major exhibition looks at the ways in which artists have explored the intersection of rock and culture in tools, structures, myths, language, and systems of abstract thought as man has strived to understand and manage our world.

Referencing the «male gaze» — a term coined by feminist film critic Laura Mulvey to describe the way in which women become framed and understood from a male perspective — this exhibition reverses stereotypical gender roles to treat the male body as the subject of our collective viewing.

«We are thrilled to present three exhibitions that explore different ways of understanding who we are and the world we live in through the lens of a camera,» continues Museum Co-Director Frank Goodyear.

Focused primarily on abstract art, this exhibition celebrates the achievement of individual artists, the collective history told by their art, and the social changes that have changed the way we understand art history in the broadest sense.

Partially adopting its title from Plato's Allegory of the Cave, this exhibition is a parable for the way in which humans understand the nature of reality, form, and perception.

In what Alton describes as «seeking to offer an alternative», it is apparent that what this exhibition does goes beyond the materiality of the artwork itself: it suggests a dynamic understanding of how we can envision new ways of curating, while commenting on the political importance of love, humour, non-violence, collaboration and speculative futures.

Polish art historian Bolena Kowalska writes in the accompanying catalogue: «The artist gave a mysterious title to her exhibition in the Poznań - based Arsenał City Gallery, i.e. «On the Way Home», allowing the viewers to understand it and comment on it their own wWay Home», allowing the viewers to understand it and comment on it their own wayway.

The treasure trove of the archive at Ulm, the hospitality of Aicher's son Florian at Rotis, and the sweet beauty of the town of Isny itself were stops along the way to a greater understanding of the man and his vision, which we bring to life in the book and the exhibition.

(Fortaleza, Brazil) Eduardo Frota, Júlio Leite, Lourival Cuquinha, Solon Ribeiro and Yuri Firmeza are some of the artists featured in «A realidade do sonho» [«The reality of dreams»], a group exhibition comprising 55 pieces that offer a free way of observing and understanding through relationships that amplify and update the matters in Chico da Silva's work, instead of a chronological narrative.

She is dedicated to creating exhibitions that open up dialogues and create spaces in which to see artists as important thinkers, and to see artworks as a way to understand not only art history, but also cultural history.

The title of Philipp Fürhofer's recent exhibition, «Walpurgisnacht,» was borrowed from a scene in Goethe's Faust, so we can assume that the show's recurrent concern with light was to be understood not only literally, but also in a symbolic way.

The exhibition «celebrates the achievement of individual artists, the collective history told by their art, and the social changes that have changed the way we understand art history in the broadest sense.»

The exhibition argues that methods of representation have an impact upon the interpretation of bodies and histories, in a way that can challenge governing understandings of female sexuality.

Several of the artists represented in the exhibition studied and / or worked in Spain, or were influenced by Spanish art in other ways; seeing their paintings in the context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand how many of these Mexican artists later began to forge their own artistic path distinct from their European contemporaries.

Whether it is understood in the literature, or whether it has been explicitly stated, there is an awareness that a canon is built up by writing an exhibition history, and that this should therefore be done in a careful and critical way.

By considering the climate of queer citizens in Eastern Europe and Africa, the exhibition poses the question, «How might art and culture help us to look again at the way in which we understand the conditions of queer citizens in global politics?»

Beyond the ways in which photographs can not capture the minute detail inseparable from the immense scale of Pindell's work, the exhibition builds a complex understanding of a way to view her work that draws us in by asking us to look deeply and closely at and beneath its surface.

The works in this exhibition offer ways to examine the parallel between the shifting meaning of the glare, and the material shift as it is understood within the ever - changing function of the print.

The paintings featured in Nitegeka's exhibition highlight the artist's ongoing engagement with the ways in which manipulations of line, color and volume affect our experience and understanding of space.

«For the artists included in this exhibition, the female body became a locus of exploration and rediscovery in a radical new visual language that challenged the way of understanding the world», explains Fajardo - Hill.

In her recent exhibition «Every Mask I Ever Loved» multi-disciplinary artist Wura - Natasha Ogunji explores ways of understanding other people's realities — not because there are always common grounds, but because she believes in the imaginative spacIn her recent exhibition «Every Mask I Ever Loved» multi-disciplinary artist Wura - Natasha Ogunji explores ways of understanding other people's realities — not because there are always common grounds, but because she believes in the imaginative spacin the imaginative space.

These hands - on art projects provide opportunities for teaching, learning, and understanding issues raised by current and past exhibitions at the Tang, while offering children the opportunity to express their creativity in fun and inspiring ways.

The point of departure of the exhibition is rooted in poetic manifestations as a way to understand the addressed issues as open ended and varied in meaning.

In the words of artist Torkwase Dyson, this exhibition is not just about «the way we connect... but understanding also the waters that are between us.»

Bringing together three hundred pictures, magazines, and journals by more than one hundred artists from the dawn of modernism to the present, the exhibition looks at the ways in which photography at once informs and challenges our understanding of what sculpture is.