Sentences with phrase «history of his artistic approach»

Not exact matches

Challenging traditional perceptions of artistic professions in Bangladesh, Rahman has pioneered a cross-media approach, working primarily as a performance artist and painter exploring sociopolitical conflicts shaping the history of Bangladesh and South Asia.

Borrowed Light will present a visual history of photography from its inception in the 1840s to the present day, chronicling various photographic processes, techniques, and artistic approaches — from an early half - plate ambrotype of Niagara Falls, to a Polaroid self - portrait by a young Robert Mapplethorpe.

The Graduate Program's curriculum emphasizes the interrelatedness of practice and discourse, disavowing ahistorical or anti-intellectual approaches even while encouraging alternative and even oppositional interpretations of artistic, institutional, and cultural histories.

The dual nature of this approach provides the museum with a diverse range of holdings and opportunities to display histories of recent artistic practice that are disparate, divergent, and reflective of the broader range of identities, disciplines, and forms that give shape to an idea of contemporary life.

In October 2012 Montserrat College of Art will welcome the Guerrilla Girls and other artists and academics to approach the topic of Art & Activism as it relates to art history, studio art and contemporary issues within artistic practice.

In addition to applications by filmmakers and animators as well as artistic approaches, the VRLab relates the history of virtual and augmented reality's development.

This cross-disciplinary approach ensures that the final collection is the result of different perspectives — the history of the war, the significance of Buchler as a woman photographer and her artistic excellence as an «amateur».

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

My artistic practice draws upon a curatorial approach and manifests in the development of longstanding discursive projects that think through the infrastructures of justice, militarism, histories of sanitation, and theater.

The editorial approach follows an interest in unresolved narrations of history, culture and the geo - political, and the ways they condition contemporary notions of artistic practice, with a recurring concern of the relationship between contemporary art and the archive.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

posited the first methodological approach for the discipline: that instead of bolstering the reputations of critically neglected or forgotten women artists, the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.

New for this show, he has worked on fabrics for the very first time, a medium that has enjoyed renewed interest in the contemporary art world in the last decade and is emblematic of his approach, giving our artistic heritage a contemporary interpretation, and thus offering it a sense of continuity in art history.

In conjunction with Renée Stout Tales of the Conjure Woman, the exhibit Circle of Friends tells a story of female artists supporting one another as they make their way towards artistic maturity and relevance and approaches the history of Washington art from the perspective of these communities of support.

Interested in the material history and visual culture of her hometown, Yto Barrada has developed an artistic practice combining documentary strategies with a metaphoric approach to imagery, resulting in body of poetic work that is internationally recognized.

With the collapse of Communism and the approach of German reunification, Kiefer widened the artistic focus of his paintings to include to include references to ancient Hebrew theology and Egyptian history, as well as other early civilizations.