Sentences with phrase «global art form»

Air guitar is a popular global art form in which the performer develops an on - stage character to play an imaginary electric guitar solo.

Chekhov didn't live to see cinema emerge as an important global art form.

Small wonder most earlier global art forms, notwithstanding trials such as African Ife or Japanese Kamakura sculpture, declined it.

Not exact matches

Upon successful graduation from the program, get rewarded with the global recognition status of 200 RYT (by Yoga Alliance) along with the liberty to preach the art form anywhere across the globe.

«Yoga» — a science and an art form that took birth in India, is being recognized and practiced on a global platform since decades.

Get the opportunity to establish yourself on a global platform as an experienced yoga instructor and practitioner with the freedom to teach the art form anywhere across the globe.

The Global Yogic Flow Arts Love Warrior Yogis form the foundation and expansion of this living international system.

Cinema is an art form unlike any other, one that swirls disparate forms of expression — music, sound, writing, performance, photography — into one special medium that's helped define global pop culture for the last 100 years.

As students dig deeper into the various art forms, they will form a deeper understanding and appreciation of our diverse global community, especially as they endeavor to relate to the concepts or views of the world that an artist is trying to communicate.

Bold and powerful forms and proportions are, upon closer inspection, contrasted with aspects of traditional Japanese craftsmanship expressed in a contemporary way,» said Alfonso Albaisa, senior vice president of global design at Nissan Motor Co., Ltd. «The exterior's combination of western and eastern concepts continues inside the Xmotion, where advanced connectivity and autonomous technologies mix with modern Japanese digital art and cultural craftsmanship.

The use of art in all forms has served as a vehicle to raise public awareness of many issues, from street harassment to the global water crisis and everything in between.

Postcommodity's art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever - expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence.

The free form ink drawings from 1955 to 1967 are a reflection of Warhol's fascination with the performing arts during his rise from commercial artist to the launch of his fame as a global Pop artist.

But whereas that exhibition consolidated an emergent artistic practice, Other Primary Structures consolidates a highly problematic form of global art history, one that is no less hegemonic than the narrative from which it supposedly departs.

The free form ink drawings are a reflection of Warhol's fascination with the performing arts during his rise from commercial artist to global Pop artist.

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

Director of Critical Studies and MA / PhD programs in UCLA's Department of Architecture and Urban Design, Sylvia Lavin engages artists, architects, and curators in a series of lively discussions on how cities are increasingly molded by images rather than buildings; on whether art and architecture are converging to form an integrated type of cultural consumption; and if the concept of the masterpiece has finally been destroyed by the sheer quantity of global design production.

GPS / Global Practice Sharing provides a platform for the international exchange of ideas, processes and reflective practices surrounding dance and movement based forms between the U.S. and independent performing arts communities internationally.

«Rick Lowe has empowered communities to use new forms of art - making in response to social challenges and Masami Teraoka employs his stunning artwork to confront larger global issues.

BAM — Brooklyn Academy of Music BAM / FFA — Berkeley Art Museum and Pacific Film Archive BAT — bonne à tirer BFA — Bachelor of Fine Arts BLK Art Group — 1982 artist collective by British African - Caribbean artists fighting institutional racism BMPT — Parisian art group formed in 1960s by Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni criticizing the Paris Salons and the authority of the artist BRIC — Brazil, Russia, India, and China (a term to descibe emerging global markeArt Museum and Pacific Film Archive BAT — bonne à tirer BFA — Bachelor of Fine Arts BLK Art Group — 1982 artist collective by British African - Caribbean artists fighting institutional racism BMPT — Parisian art group formed in 1960s by Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni criticizing the Paris Salons and the authority of the artist BRIC — Brazil, Russia, India, and China (a term to descibe emerging global markeArt Group — 1982 artist collective by British African - Caribbean artists fighting institutional racism BMPT — Parisian art group formed in 1960s by Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni criticizing the Paris Salons and the authority of the artist BRIC — Brazil, Russia, India, and China (a term to descibe emerging global markeart group formed in 1960s by Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni criticizing the Paris Salons and the authority of the artist BRIC — Brazil, Russia, India, and China (a term to descibe emerging global markets)

A global movement that encompassed a wide number of art forms, including film, theater, poetry, and literature, Surrealism came of age with poet André Breton's formal declaration in 1924.

The work — presented in partnership with Swiss luxury watch manufacturer and global associate partner of Art Basel, Audemars Piguet — takes the form of a chalet floating in front of the iconic modernist and disused Miami Marine Stadium.

The connection between raw material and its consumption by the immaterial systems of global capitalism is the main theme running through Metal, a group show of five artists at Middlesbrough Institute of Modern Art, which forms part of the AV Festival, a biennial programme of art, film and music in the northeast of England, now in its sixth iteratiArt, which forms part of the AV Festival, a biennial programme of art, film and music in the northeast of England, now in its sixth iteratiart, film and music in the northeast of England, now in its sixth iteration.

The Spectacular of Vernacular addresses the role of vernacular forms in the work of 26 artists who utilize craft, folklore and roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art.

Under the Same Sun: Art from Latin America Today is the second of three exhibitions that form part of the Guggenheim UBS MAP Global Art Initiative.

The Chrysler Museum of Art's winter / spring keynote exhibition, Edward Burtynsky: Water, includes more than 60 large - scale color photographs that form a global portrait of the intricate intersections of humanity and our most precious natural resource.

To be standing at this particular intersection of art and technology, science and instant photography, bringing new ideas, new nomenclature, new picture signs to our global photographic culture, it had to be me, through this machine, to talk about abstraction and minimalism, size and scale, color and non-color, form with feelings.

Globally, it's less in the form of ambitious mega-projects like the Guggenheim Abu Dhabi (now scheduled for completion in 2017) and more through networks and networking, like the Guggenheim's UBS MAP Global Art Initiative, whose next focus is Latin America, and the Met's recent accord with India.

«Contemporary African art has been present on the global art scene long enough for imaginary forms stemming from creative minds to be apprehended first and foremost through the intrinsic nature and the intricate relations between form, medium and space, before being loaded with the burden of history and cultural specificity.»

Art as form of experience — whether social, intellectual, cultural or spiritual — had been ARTJOG's global theme for the past three editions.

The 13 participating artists and artist groups — contributing mixed - media installations, film, video, and archive - oriented art — join Tiravanija's global journey through a cultural gathering that privileges mobility and exchange as a form of research and a way to learn about the vagrancies of meanings attached to things.

Her installations have been included in a number of international exhibitions, such as Life On Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, 2008; the 9th Lyon Biennial, France, 2007; the 15th Sydney Biennale, Australia, 2006; and How Latitudes Become Forms: Art in a Global Age, Walker Art Center, Minneapolis, 2003.

The question is, what is driving this swiftly increasing global appetite for contemporary African art (in all its various forms) and why and how has this come about?

The uprising of a new «global spirituality» in art appears in the focus made on outsiders and occult forms in the last Venice Biennial, or in the recent calls for an «animist» state of mind in the arts.

Group exhibitions include J'en rêve, Fondation Cartier pour l'art contemporain, Paris, France (2005); Landscape Confection, Wexner Center for the Arts, Columbus, OH (2005); and How Latitudes Become Forms: Art in a Global Age, Walker Art Center, Minneapolis, MN (2003).

In an era of virtual neighborhoods and fast - paced Internet communication, The Spectacular of Vernacular addresses the role of vernacular forms in the work of 27 artists who utilize craft, incorporate folklore, and revel in roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art.

Birnbaum has subsequently approached the exhibition from a very global standpoint, he states that within the biennale: «All forms of artistic expression are present: installation art, video and film, sculpture, performance, painting and drawing, and a live parade.

First year students focus specifically on exhibitions — their history, form and design — alongside courses in contemporary and global art history, theory and criticism, and primary engagements with artists and designers.

2002 CAB Gallery Retrospective 1999 - 2001, Essor Gallery Project Space, London, UK Between Language and Form, Yale University Art Gallery, New Haven, Connecticut, US Amsterdam Revisited: Adam & Eve On Sex, Tolerance and other Dependencies, De Appel, Amsterdam, NL Reaction - A Global Response to 9/11, Exit Art, New York, US Art Aficionado Auction of Cigar Box Art, Birmingham Museum of Art, Birmingham, Alabama, US Just Remember: It's Vienna, Galerie Hubert Winter, Vienna, AT Welfare State International, London, UK Light & Shadows..., Galerie Anselm Dreher, Berlin, DE From the Observatory, Paula Cooper Gallery, New York, US Galerie Pietro Spartà, Chagny, FR Coolecção Onnasch: Aspectos da Arte Contemporânea, Museu Serralves / Museu Arte Contemporânea, Porto, PT Conceptual Art 1965 - 1975 from Dutch and Belgian Collections, Stedelijk Museum Amsterdam, NE DIN Art 4 - 560 Künstler und 1 Formular, Museum für Kommunikation, Hamburg, DE 2002 Benefit Silent Auction and Gala, White Columns, New York, US Parole, Parole, Parole, Galleria Civica di Arte Contemporanea, Trento, IT Water - Sand — Space, The International Art Exhibition: Sharjah Art Museum, UAE; Städtischen Galerie Wolfsburg, DE Private Views, London Print Studio Gallery, London, UK Collections, Stedelijk Museum, Amsterdam, NL Startkapital, K21 Kunstsmamlung Nordhein - Westfalen, DE 20 Years in Danish Art, Stalke Galleri & Galleri Kirke Sonnerup, DK The Artists» Memory, Stadtische Museen Jena, Kabinett im Stadtmuseen, DE Ideal Avalanche, The Pond, Chicago, Illinois, UK Pièes de Collection / Oeuvres Contemporaines, Une Proposition de Françoise et Jean - Philippe Billarant, Ecole Supérieure des Beaux - Arts de Nîmes, ESBAN @ Hôtel Rivet, FR Hors d'Oeuvre, Artist's Pages, Le Journal de l'art Contemporain en Bourgogne, No. 10, FR Frenetic Interferences a presentation of MEMORY / CAGE EDITIONS, Museum Store of The New Museum of Contemporary Art, New York, US Sens Giratoire Exposition Collective Peintures, Photographies, Installations PASSAGES, Centre d'Art Contemporain, Troyes, FR Ilona Ruegg, Kunsthalle Bern, Bern, CH Kunst und Schock Der 11, September und das Geheimnis des Anderen, Eine Austellung mit Bildern und Texten in Zusammenarbeit mit Lettre International, Haus am Lützoplatz, Berlin, DE Art Unlimited, Basel Art Fair, Basel, CH Les Horizons du Paysage, curated by François Montliau & Hubert Besacier, Maison de la Culture de Bourges, FR Ansammlungen von Ingrid Wald und Gerhard Jaschke («Freibord»), Sommerallerie, Unterretzbach, AT Out of Print Edição Esgotada, Museu Serralves, Museu de Art Contemporaneâ, Porto, PT De Concert, Oeuvres d'une Collection Privé, Frac des Pays de la Loire, FR What About Hegel (And You)-RRB-?

Like most of Ms. Shettar's work, it represents a strain of Indian contemporary art still overlooked in a global context: abstract work that wears Indian - ness lightly but still stands apart from familiar international forms, themes and styles.

Millions of grains of colored, crushed marble will be laid into place in this ancient spiritual art form to generate energies for global healing; family activities planned throughout week Tibetan Buddhist monks from Drepung Loseling Monastery will return to the Crow Collection of Asian Art for a week - long artist residency to construct a magnificent Tantric -LSB-.art form to generate energies for global healing; family activities planned throughout week Tibetan Buddhist monks from Drepung Loseling Monastery will return to the Crow Collection of Asian Art for a week - long artist residency to construct a magnificent Tantric -LSB-.Art for a week - long artist residency to construct a magnificent Tantric -LSB-...]

It explores a new form of para-institution in the arts; one that responds to both the new possibilities for connection, and the rising states of isolation that mark the global era.

Group exhibitions include the 2004 Whitney Biennial, Whitney Museum, New York; How Latitudes Become Forms: Art in a Global Age, Walker Art Center, Minneapolis; and Fresh: The Altoids Collection, New Museum for Contemporary Art, New York.

Using social media, public art in the form of a sculpture, and video documentation, the project is Roescheisen's first to transfer art and digital media into a peace dialogue on the global stage.

at the Museum of Modern Art — make bold attempts to decode fashion from two opposing curatorial perspectives, by tackling the very premise of fashion's postmodernity, and with it, many of its existential dilemmas: the relationship between form and function, automation and craftsmanship, and the status of aesthetic authorship in the age of global mass production.

Installation view of TAS (Temporary Autonomous Sarai), with Atelier Bow - Wow, in the exhibition «How Latitudes Become Forms: Art in a Global Age» at the Walker Art Center, Minneapolis, 2003.

Furthermore, performative gestures and practices - in the context of private, public and civic space - have been subjected to forms of aesthetic, ethical and political critique that, to date, see them in isolation from the evolving global contexts that underwrite international developments in performance art.

During her tenure as Director, Walker presented groundbreaking exhibitions featuring the work of Chantal Akerman, Joseph Beuys, Bruce Nauman, Hélio Oiticica, and Kara Walker, as well as the exhibition «How Latitudes Become Form: Art in a Global Age.»

The NASA / GISS laboratory located at Columbia has long been «enhancing» global warming trends from the raw empirical evidence - truly an art form in its own right, sans the mattress of course.