Sentences with phrase «from different art forms»

The artists invoke strategies from different art forms, one form is used to enhance another, creating multifarious meaning and opportunity for constant reassessment of each work.

Not exact matches

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

During her education, Skop was exposed to many different art forms and to students from around the world.

many art forms from Ghana, dating back many years and depicting different epochs in.

Sounds like struggles that have claimed more famous artists from centuries ago just in a completely different time and form of art.

Built from the ground up, Elisa and Eric Callow's contemporary house is a «different sort of art form»

Children learn about the main forms of abstract art and then go on to express themselves in a feelings iceberg (to show how they feel on the surface and underneath in different situations) This was an outstanding lesson in year 5 All images either authors own or sourced from PIXABAY.

It is such that now, rather than trying to split the cultural distinctions of art forms from different countries, game makers can travel across the world taking bits and pieces of things they learn and enjoy, and then glue them together in their work to expand their creative possibilities beyond the confines of their native culture.

Of course, Walker is a highly sophisticated painter who has internalized many different artists and art forms — from Rembrandt, Paul Cézanne, Henri Matisse and Marsden Hartley to Aboriginal Australian bark paintings and African art.

This anthology forms both the culmination and a continuation of a series of public events entitled Lunch Bytes — Thinking about Art and Digital Culture, held in Washington, D.C., which invited artists and experts from different fields to discuss their work in relation to this overarching theme.

The Montreal - based artist's second solo exhibition, Squinky Hates Video Games, is a compilation of work from the past three years in the form of ten different games, some of which were created during a stint at UC Santa Cruz's Digital Arts and New Media MFA program.

At the Morgan Library, French manuscript illumination learned from three different Renaissance breakthroughs — the great painting in northern Europe, art in the churches of Italy, and art forms confined merely to books for princes and cloisters.

The idea for a multicultural complex, bringing together in one place different forms of art and literature, developed, in part, from the ideas of France's first Minister of Cultural Affairs, André Malraux, a western proponent of the decentralisation of art and culture by impulse of the political power.

Here, the viewer will witness forms of experimental arts very unique and different from one another.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

All teens ages 13 - 18 are invited for a FREE drop - in art - making session on the third Saturday of each month from 1:00 - 3:00 p.m. Explore modern and contemporary artwork, meet other talented teens, and experiment with different materials and a wide range of art forms such as visual art, slam poetry, fashion, and creative writing.

In his work at the Leeds Art Gallery, Horizon (Leeds), he made a selection of a dozen or so 19th and early 20th landscape paintings from the extensive Leeds Art Gallery permanent collection, and hung them at different heights so that a formed a single horizon, which cut across their (often ornate) picture frames.

The Bluecoat is a center for the contemporary arts, located in the heart of Liverpool, devoted to different forms of creativity, from visual arts to music, from dance to literature.

Art Night is a mini-festival conceived and organised by Unlimited Productions who, each year, will invite a leading cultural institution and curator to work in a different area of London, exploring the history, culture and architecture.The first edition is curated by the Institute of Contemporary Arts (ICA), with curator Kathy Noble, who will present a series of artists» works and new commissions in unusual locations across Westminster, forming a trail running from Admiralty Arch to Temple.

«For the last two centuries,» said Katie Pfohl, NOMA's Curator of Modern and Contemporary Art, «American artists have captured many different conceptions of the country and its people, from colonial American portraits that showcase the country's early diversity, to the broad range of materials and forms to be found in 20th century American aArt, «American artists have captured many different conceptions of the country and its people, from colonial American portraits that showcase the country's early diversity, to the broad range of materials and forms to be found in 20th century American artart.

Chelsea, New York City: Curator D. Dominick Lombardi's premise for the exhibit Free Form Five is that while the five artists» selections of subject matter, process, media and aesthetic, are very different from each other — they all make art that reveals a new and compelling depth of perception.

For 16 years, Llewellyn has studied and practiced many different art forms ranging from action painting, cubism, and abstract art.

But that's different from the situation I'm describing: art that tangibly occupies three - dimensional space, yet seems to exist in more compelling form when seen in a magazine than it does in real life.

By combining two different worlds; the slow and ancient art form of weaving and digital snap shots from mobile phones and pornographic websites, Riley insist we take a step back and re-examine our understanding of our visually representation of the world.

Visual as well as formal associations, relations between different forms from different sources, books bought in second hand stores and sculptures ranging from the history of art collected carefully in time.

Aesthetically, camouflage can assume different shapes and forms, creating beautiful design and art products, while conceptually, it may be detached from its military connotation, and transformed to different purposes depending on the given context.

Formed in 1984, Dumb Type, in its early stages, was made up of about fifteen Kyoto City Art College students from different fields: visual artists, video artists, choreographers and performers, as well as architects, graphic designers, sound engineers and computer scientists who combined to invent a new, fundamentally pluridisciplinary type of performing aArt College students from different fields: visual artists, video artists, choreographers and performers, as well as architects, graphic designers, sound engineers and computer scientists who combined to invent a new, fundamentally pluridisciplinary type of performing artart.

With different expressive media, references and semiotics, they create artworks in full dialogue between them, negotiating this trend that has emerged in recent years in the international art scene, in which handicraft, folklore, history, the folk, and the local culture, stand shoulder to shoulder and coexist, from the 90s in New British Scene, but also later through individual cases of artists who originated form the periphery of the Globe.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

The radically different forms of art created by the two artists give us an extensive look at today's society and culture from distinguished angles.

Working in diverse media with individualized processes and styles, and coming from different levels of exhibition experience, art education and artistic career, their pursuits take many forms.

COBRA artists got their inspiration from several different sources, notably: prehistoric art, various forms of primitivism, so - called folk art, gestural and textual graffiti, Nordic mythology, and especially children's pictures, Art Brut and other types of Outsider aart, various forms of primitivism, so - called folk art, gestural and textual graffiti, Nordic mythology, and especially children's pictures, Art Brut and other types of Outsider aart, gestural and textual graffiti, Nordic mythology, and especially children's pictures, Art Brut and other types of Outsider aArt Brut and other types of Outsider artart.

A part of the fabled Vollard Suite — a group of 100 prints the artist created for the Paris art dealer in Ambroise Vollard in the 1930s that mingle the artist's erotic preoccupations and newfound obsession with classical forms — this piece functions as one of Picasso's many self - portraits - by - proxy, in which he imagines himself in the guise of a (usually priapic) artist from a different era, such as Degas or Raphael, often dallying with a model.

Picking up the early avant - garde thoughts of the deconstruction of shapes and geometry, filtering colors until they appear in their purest form the works of selected artists do not only reflect but also advance several 20th century art movements from early constructivism, different categories of abstract art, to pop - art related styles.

The exhibition will be accompanied by various side events including discussions, lectures, a theatrical production, and public readings, each focused on different forms of feminist and gender research (from the perspective of art history, social sciences, philosophy, etc.).

With innovative concepts of form, content materials and techniques, analytical handling of the environment and different visions and approaches to what art is, abstract sculpture authors from our list have blown a breath of fresh air into the soul of the 20th - century sculpture completely changed the course of modern art.

Radically different forms of Pop Art from both sides of the Atlantic: evinced in the work of the American painter Allan D'Arcangelo, British filmmaker and collage artist Jeff Keen, and Spanish photographer and object maker Dario Villalba

Including performances by live art practitioners and moving image work selected from the Zabludowicz Collection, the exhibition investigates the ways in which a moment can be interrogated through different art forms.

It comes here, in significantly different form, from the Louisiana Museum of Modern Art in Denmark, which organized it, and the Scottish National Gallery of Modern Art in Edinburgh.

They experimented with new ways of teaching and learning; they encouraged discussion and free inquiry; they felt that form in art had meaning; they were committed to the rigor of the studio and the laboratory; they practiced living and working together as a community; they shared the ideas and values of different cultures; they had faith in learning through experience and doing; they trusted in the new while remaining committed to ideas from the past; and they valued the idiosyncratic nature of the individual.

British sculptor Anthony Caro and American painter Jules Olitski are an unlikely pair, each specializing in widely different forms of art from one another.

«Believing in art as a means to form connections, [Nara] leaves open a space for a variety of different readings and emotional responses, ranging from catharsis to political defiance and hope.»

If these conventions made paintings that looked very different from the Old Masters, that was because the art of painting, like any other form of human expression or communication, could not survive by simply repeating what had already been done.

Much like in the novel, A House of Leaves borrows different languages, tells multiple narratives in different ways, and asks its viewer to become co-author in order to present a collective effort to define an art form — in this instance the contemporary art museum, from its collection, displays, special commissions, and loans, to its educational and interpretation system.

They incorporate many elements of the classic forms of the instrument but present them in different contexts, drawing inspiration from nature and its ability to transform the shiny and new into true works of art.

In a manner different from other art forms, they teach, guide, and inspire the awareness of and expression of character strengths and virtues (Niemiec & Wedding, 2008).