Sentences with phrase «film this exhibition considers»

Through painting, photography and film this exhibition considers how people interact with nature, both indoors and outdoors.

Not exact matches

The latest film in the EXHIBITION ON SCREEN series allows up - close access to David Hockney Widely considered Britain's most popular artist.

Additionally, this exhibition considers the ways in which drawing is employed as a means to push the boundaries that traditionally separate one artistic discipline from another by expanding beyond the page and into the realms of performance, photography, sculpture, film, and video.

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Through films, photographs, and original documentation made over the course of their relationship — as student and teacher, lovers and colleagues — the exhibition illustrates the artists» different approaches and considers the impact they had on each other's work.

This daily film screening runs concurrently with the International Pop exhibition and brings together a variety of works from the 1950s, 60s, and 70s that are rarely considered alongside one another.

The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon's concern with social and political issues and the welfare of individuals considered by many to be on the margins of society.

Why curate exhibitions or create film programs about dissensus and artist activism within a school that is considered the last free art school in terms of tuition?

Among the highlights of Mark Leckey: Containers and Their Drivers will be Leckey's breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist's Sound System sculptures (2001 — 2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; GreenScreenRefrigeratorAction (2010), a video and installation that considers «smart» objects and our increasingly technological environment; and a new iteration of the installation UniAddDumThs (2014), which Leckey created as a «copy» of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before.

Featuring work by the two men, encompassing paintings, drawings, and films, this exhibition considers the dialogue between the two French artists.

RELATED EVENTS The Related Events accompanying the exhibition will foreground experimental forms of filmmaking (particularly considering the role of activism and engagement within the practice) and will showcase artist - made film through a series of screenings, workshops and discursive events.

Bringing together still and moving images, objects and iconic works of art, The Western: An Epic in Art and Film will be the first exhibition to consider The Western and its attendant myths in the context of approximately 160 paintings, photography, prose and film from the mid-1800s to the present.

Widely considered one of the most lively and popular art centers in the United States, the Yerba Buena Center hosts events of various types; from temporary exhibitions of visual arts to dance performances, from conferences to music concerts; from site - specific art installations to film screenings.

In Rodriguez's first New York museum show, and similarly to how a 2013 exhibition took its cues from La Collectionneuse, a 1967 film related to art by Éric Rohmer, her new work The Maid takes a cinematic approach to sculpture, considering «the conditional relationships between artist, artwork, and third - party agents (institution, caregiver, surrogate) in familial terms»: the evolved social dynamics of the artworld, and the laws that underpin them.

This exhibition, presented in partnership with The Gordon Parks Foundation, counts some 150 different works from the Foundation's collection — vintage prints, contact sheets, magazines, and films — considers Gordon Parks» photographic and cinematic work together.

The wide variety of materials that constitute the exhibition (including collections of photographs, slide projections, periodicals, recent film and video installations, sculptures, and printed works on paper) create numerous situations within which to consider not only the materiality of images and the technologies that form their reception, but also the conflicted social history that lies under their surfaces and is inextricable from their origins.

Much of this has been possible because of Hanhardt, who is often considered a pioneer in his field for his exhibitions about film and video at the Museum of Modern Art, the Whitney Museum, the Guggenheim Museum, and the Walker Art Center in Minneapolis.

Different curatorial models including solo and group exhibitions, film series, archives and commissions were considered and various contexts such as the museum, galleries or festivals were examined.

Building on his residency at Camden Arts Centre over the summer, Christian presents Words after the World, a new film commission and exhibition considering the boundaries of language and translation.

The exhibition includes sculpture, installation and a film, which coalesce to consider the binary power structures of sadomasochism, ritual, authority and control, in order to reveal, through the artist's distinct visual language, how these roles are both symbolic and reversible.

Central to the exhibition is a major new multi-platform film installation, Subconscious Society, which considers the end of the industrial age in favour of an age of technology.

In his first New York City exhibition in 2009, titled The TV Show, PEET organized the concept around characters he coined «The Luxury Leaders» and «The Resistants» — symbolic metaphors for white - collar corporate America versus the anti-materialist, subcultural underbelly.3 Considering these fragmented story lines of rebellion and subversion, alongside the fact that the artist is sometimes positioned somewhere nearby covertly broadcasting an element of live feed into the gallery space, somehow it doesn't seem a stretch to imagine a grinning PEET tucked away in a dingy basement making human lard soap, à la Brad Pitt's nihilistic Tyler Durden from the 1999 film Fight Club.

Among the highlights of Containers and Their Drivers are Leckey's breakthrough film Fiorucci Made Me Hardcore (1999), which uses sampled VHS footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist's Sound System sculptures (2001 — 2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; GreenScreenRefrigerator (2010 - 16), an installation that considers «smart» objects and our increasingly technological environment; and the fullest iteration to date of the installation UniAddDumThs (2014), which Leckey created as a «copy» of a touring exhibition, The Universal Addressability of Dumb Things, that he had curated the year before.

Considering issues of access, visibility, and responsibility, the films also document the artist's first solo gallery exhibition at Casey Kaplan in Chelsea.

Spanning generations, movements, and artistic strategies — from early Pop work, avant - garde film, Pictures Generation appropriation, institutional critique, and a range of other materialist, picture - based activities — the exhibition also considers contemporary art's own complicit function as an ever - expanding industrial image economy.

As one of the simplest geometric figures, the circle is subject to huge variation, in nature and in art, and this exhibition considers the ways in which artists have gravitated to this universal and recurring form, and to the very idea of «roundness», through a variety of processes and media including paintings, sculptures, film and photographic, alongside design objects and historical artefacts.

Hans Richter, Still from Filmstudie, 1926 35 mm film transferred to video (black and white, silent) March 19 — June 23, 2008 This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or «New Vision,» generation of artists, among them László Moholy - Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta - Clark, -LSB-...]