Sentences with phrase «for artistic production on»

Through some speculative and inconclusive juxtapositions, it attempts to gauge the consequences of this relationship, characterized by unease, for artistic production on the one hand and the art institution on the other.

With this equal representation, the show takes a firm stance against the rigid grid of nationality as the framework for artistic production on the one hand.

Not exact matches

Through ballads and swing from the 1940s we are transported to a hotel on the Lincolnshire coast for Trevor Nunn's first production as artistic director of the Theatre Royal Haymarket.

«We are strongly dedicated to building our clients» careers focusing on their creative endeavors, businesses and production entities in order for them to achieve their highest artistic goals.

The exhibition presents around 50 artistic approaches, illustrating the network of links between journalism and art, and the ways in which artists draw on media for their creative production.

Explore how observation of animal behavior influenced religious belief, artistic production, and daily life from ancient America to contemporary Africa in this three - day workshop for teachers on June 5 - 7.

«ICA Miami thrives as a hub for artistic innovation and experimentation, so it is fitting that our inaugural exhibition centers on artists and their sites of production.

On the other hand, however, the dialogue - oriented confrontation allows for the direct comparison of artistic positions and their varying artistic and biographical prerequisites, thereby clearly indicating artistic production in Germany as a stimulating cooperation and interaction of identity and «alterity».

The bringing to light of a processual artistic activity, such as Morris called for in his theoretical texts Notes on Sculpture, Part 1 - 4 (1966 - 69) and Anti-Form (1968), likewise addresses the social context of production and labor, a perspective which is also to be seen against the background of the institutional criticism of Concept Art as well as the social expectations during the 1970s with regard to art production.

The spring semester presents a set of concepts and categories that have become important for the examination of cultural production during the last two decades, reflecting on their relevance for thinking about artistic and curatorial practice today.

berlin and los angeles, seen in an international context, are significant sites of artistic production and have — for decades --- counted as two of the most influential cities for interesting discussions on art.

He is the founder and artistic director of the non-profit art space SAVVY Contemporary Berlin - a laboratory for conceptual, intellectual, and artistic production and exchange that takes up the challenge of investigating the «threshold» between, as well as critically reflecting on and questioning discourses around «Western art» and «non-Western art».

Clugage acts as a director for the Craft Advanced Research Projects Agency (CARPA) and hosts a series of public salon dinners themed on the artistic production models and culinary histories of diverse times and places.

Founded in Beirut in 1993, Ashkal Alwan is committed to the production, research, and circulation of contemporary artistic and intellectual practices, through initiatives such as Home Works: A Forum on Cultural Practices (2002), a multidisciplinary platform bringing together artists, writers, thinkers, filmmakers, and choreographers, for a public program of exhibitions, panel discussions, film screenings, and performances, as well as the Home Workspace Program (2011), an annual tuition - free art - study program.

Together these texts appear as a parallel production to Beshty's artistic work: they reflect on the conditions of the realization and circulation of images, undermining distinctions between media, abstraction and figuration, and proposing new aesthetic criteria for the works examined.

The Works presents a variety of Chicagoan approaches to this discourse: Marissa Lee Benedict & David Rueter, Theaster Gates, and Dan Peterman contextualize their multidisciplinary practices within a wider scope of research and activism, reflecting first and foremost on artistic production as a vehicle for ecological and social reflection.

It centers on the two decades after his move to Rome from Florence in 1534, which was a catalyst for his production of hundreds of poems and private artistic projects simultaneous with his papal commissions.

Sessions will focus on topics that range from the pragmatics of developing a program to building infrastructure and platforms for the support of artistic production.

Joseph Nechvatal has channeled an early interest in political, non-violent activism into artistic production: drawings, paintings, murals, political cartoons, videotapes, prints, posters, books, super-8 films, and designs for industrial materials, most of which offer commentary on strategic arms build - ups and the prospect of nuclear war.

Curated by Steven Bridges for the Hyde Park Art Center and Contemporary Arts Council, Cosmosis investigated how the cosmos and the field of Cosmology continue to inspire artistic production and exert influence on human understanding of the universe — and our place therein.

Through a wide - ranging annual program of exhibitions supported by the production of original publications, editions, and related events, TYPOLOGY is an open platform for diverse curatorial and artistic practices and perspectives, and a forum for the exchange of ideas on exhibition - making as a way to engage and inform audiences from all walks of life.

The exhibition will survey works spanning five decades of artistic production with emphasis on recent work; it will be the first major exhibition for this artist in her home state in over 20 years.

By enabling artistic production, critical debate and dissemination of contemporary visual art in the three dimensional form, we help to develop the careers and reputation of artists and an understanding of their artistic practice on a local, national and international level, making GSS a vital platform for all who wish to understand, participate in and embrace contemporary three - dimensional artistic practice.

Today's funding trends such as Creative Place - making, made possible through partnership enterprises among foundation, governmental, and financial - sector support, such as ArtPlace America, are concentrated on giving art and artists opportunities in diverse communities yet also require artists and arts organizations to think through an entrepreneurial frame by integrating their initiatives into their community's economic development and community revitalization strategies and having the potential to attract additional private and public support of the community.3 Is this a worthy challenge of contemporary arts insularity or does it discount subversive and against - the - grain art production, made by and for art communities, including that which is made within and by these same diverse communities that are being targeted by new funding initiatives as in need of help in the form of artistic interventions?

It quickly became a major forum for debate on contemporary art and architecture, and as such filled a gap between institutional representation and artistic production.

The Institute for American Art will produce a year's worth of programming centering on artistic production and community engagement.

A center of cultural and intellectual life on campus, the museum serves as a living textbook for object - based learning, a home and resource for artists, and a catalyst for artistic expression, scholarly innovation, and the production of new knowledge through art.

Through studio projects, readings, discussions, and case studies, students in this class will engage the immediate context of the University as source material for their artworks as a means to explore the effect that research and knowledge production might have on contemporary artistic practice.

He is the founder and artistic director of the non-profit art space SAVVY Contemporary Berlin — a laboratory for conceptual, intellectual, artistic production and exchange that takes up the challenge of investigating the «threshold» between, as well as critically reflecting on and questioning discourses around the «West» and the «non-West».

Delier engages with questions on how artistic and capitalistic modes of production overlap by placing himself in the role of maker / producer and creating a product for commodification in the industry of art.

The primary site of the investigation is a working shrimp boat on Galveston Bay which serves as a catalyst for labor, discussion and artistic production.

With a focus on conceptual, site - specific, research -, and time - based art and a particular interest in the cultural - anthropological contexts of artistic production, she develops independent exhibition projects with international artists and writes texts and essays for various publications.

Just as the «gold» in the title of the show plays on the industry name for the cadmium yellow used to modify the light bulbs, this exhibition explored the serialized and commodified aspects of technological development, artistic production, and the space of the gallery.

This volume takes stock of critical perspectives on the work of New York — based Wade Guyton (born 1972), assembling both expansive, scholarly essays and more concise, journalistic assessments by an international array of authors — Daniel Baumann, Kirsty Bell, Johanna Burton, Catherine Chevalier, Bettina Funcke, John Kelsey, Scott Rothkopf and Peter Schjeldahl among them — offering an invaluable reference for any reader coming to terms with his artistic production.

The mission of the Latin American Art Department and the International Center for the Arts of the Americas (ICAA) is to collect, exhibit, research, and educate audiences on the diverse artistic production of Latin Americans and Latinos, which includes artists from Mexico, Central and South America, and the Caribbean, as well as from the United States.

Originating with Picasso's creation of his largest work, the stage curtain for the ballet Parade, in 1917, the exhibition examines artistic production of that crucial year in light of historical facts and their impacts on the lives of the artists.

The traditional focus on yet widely unknown international positions is unregularly extended by artists of an older generation, who turned out to be highly influential for a younger artistic production (such as Jan Bas Ader, John Baldessari, Trisha Brown, André Cadere, John Stezaker or Matt Mullican).

For her CIMA Fellowship she examined Alberto Savinio's representation of mythological characters in both his literary and artistic production, with a special focus on female characters.

- Extensive knowledge of food production, including testing for quality control - Leadership skills and the ability to delegate effectively - Customer service skills to ensure the satisfaction of every patron - Strong technology expertise, including in - depth understanding of nutrition analysis software and recipe and menu software - Capability of making artistic contributions to a restaurant and creating unique dishes that are in line with the establishment's sensibilities - Exceptional problem solving skills to never fall behind on orders