Sentences with phrase «how conceptual a work»

Here I began to realize that no matter how conceptual a work of art may appear, once it becomes visualized in the formal sense of being placed in a living architectural space, it transforms into decorum.

«It doesn't matter how conceptual a work is, it's still the idea that you're looking through a keyhole.»

Not exact matches

«I asked Jack to come back in this role to be the conceptual authority on the products at Twitter and to work with the design and user - support team to allow us to bring clarity to the process of how we develop at Twitter,» he said.

This feature article draws on recent work by the Committee on the Global Financial System (CGFS) to investigate trends in market - making and what they mean for the financial system (CGFS (2014)-RRB-.2 We use a simple conceptual framework to assess how supply and demand for liquidity have changed in fixed income markets, particularly in markets for sovereign and corporate bonds.

But what I find interesting about the Christian vision is how over the centuries it has worked out most, and maybe all, of the conceptual pitfalls that go along with the concept of an eternal life.

Among those already using the program with his students is Gerald Smith, who teaches conceptual physics and advanced chemistry at Bishop McNamara High School in Washington and plans to attend the march.Students who completed the print - out activity sheet illustrated how headphones work through physics — among the examples Smith intends to post to Twitter after spring break, the week after the March for Science «The kids definitely like to probe their brains a lot in terms of seeing science in real life, not just something far - reaching for geniuses to dobut as something that we exist in every day,» said Smith.

«Both of the intra-particle and inter-particle effects we saw represent first - of - their kind observations involving individual nanocatalysts and our results provide a new sort of conceptual framework for understanding how a nanoscale catalyst particle works.»

A quick search on Wikipedia for the word «model» will give you a many different options, ranging from physical models that you can touch, to conceptual models of how a system works.

The missing link is the assimilation by teachers and others close to the classroom's work of the conceptual shifts that undergird the reform initiatives: the dynamic sets of whys and hows that determine the process of change.

From the Common Core's Enduring Understandings and Understandings by Design to the Next Generation Science Standards stipulation of CDIs - Core Disciplinary Ideas and CCCs - Cross Cutting Concepts and Themes to AP courses» Conceptual Frameworks, specifying the precise ideas that will now constitute the lenses to be knowledge are how Preschool through college are now to work.

«Maker - centered learning supports a deeper conceptual understanding, so we really appreciate the power of maker - centered learning and hands - on learning when it comes to understanding mathematical ideas, or a scientific idea, or understanding civics and how the world around us works.»

One professor offered an example based on her current student dissertations: For research on the effects of standardized testing, the work of Pierre Bourdieu provides a theoretical framework, while James Banks» «Five Dimensions of Multicultural Education» offers more of a conceptual framework on how to teach multicultural education.

The authors [1] look at the skills that help to drive children's future outcomes, [2] describe how policy - makers, schools and families acknowledge the importance of fostering social and emotional skills development and the gap with the available teaching practices, [3] present an approach to the study of social and emotional skills and the underlying conceptual framework, and [4] highlight future work in this area.

They don't understand how to make the conceptual leap from a job where we are told what to do to a life where we decide what to do — and seek to do something that connects, that makes an impact, and that yes, might not work.»

[I had an interest] in all the concepts regarding practice, materials, conceptual engagements and all the issues that relate to the actual work itself and then the issues related to how works create a contextual environment for the viewer when they're installed in an exhibition space.

His conceptual process involves stripping systems down to their essence to better understand the underlying structures and rules that govern how they work.

Below are ten works of criticism through which one can trace the mainstreaming of Clement Greenberg's formalist theory, and how its dismantling led us into institutional critique and conceptual art today.

I can now ask whether it makes a difference how a painter or conceptual artist works with a knot or a square.

The exhibition sets up a specific dialogue between Schnabel's works and three significant oeuvres that provoke viewers to consider how meaning is created and communicated via even the most minimal of visual and conceptual gestures.

A conceptual artist known for her performance work and video installations, O'Grady will discuss how conversations around «post-racial» and «postfeminist» political ideologies influence her practice.

In this excerpt from Phaidon's Mary Kelly monograph, Kelly speaks to renown art historian and AIDS scholar Douglas Crimp (who curated the first Pictures exhibition that introduced appropriation artists like Sherrie Levine and spearheaded postmodern art theory) on how she sees her work in relation to feminism (s) and why the later conceptual or «theoretical» feminism's turn to the psychoanalytic subject is always political.

Indeed, the present work brilliantly encapsulates how she brings together personal, political and conceptual strands in her art.

In this 1984 interview with Jan Howard, American conceptual artist Roni Horn eloquently explains how Iceland has come to have such a vital impact on her work and recounts her two months living alone in a lighthouse.

In the Positions section, Luke Skrebowski discusses the evolution of Benjamin's «The Author as Producer» into «The Curator as Producer» and in Studies, Martha Buskirk gives a detailed description of how the Italian collector Guiseppe Panza dealt with the conceptual works of Carl Andre, Donald Judd, and others in his collection.

Her work is an example of how far an artist can push the limits of appropriation, representation of self and others, and meta - analysis of the institution of art in conceptual image - making.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Szeemann described how his highly influential show, which included post-minimalist and conceptual art works, sought to transform the gallery space into a «laboratory».

Painting, however, continues to have a large public and young artists setting out to be painters now need more than ever to see how artists of earlier generations successfully resisted the status quo and remained outside what evolved into an academic style, for this is what much of the conceptual, film and photographic work has become; merely another academy.

This conceptual turn of analysis complicates notions of how art, as containers for the idealizations and constructions of the artist, transforms at the point where the work and the viewer intersect.

Artists from the 50s and 60s who moved to the UK from the commonwealth, conceptual artists who considered themselves «stateless» global citizens rather than tied any one place, and groups such as the Black Audio Film Collective, whose work sought to unearth the possibilities of being both «Black» and «British» in the 1980s, will show how British art has, directly or indirectly, come to reflect a much wider international stage over time.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

After a prologue including other examples of radical, monochrome paintings by Ellsworth Kelly, Frank Stella, and Ad Reinhardt, Singular Forms explores how these parallel artistic strategies were manifest in Minimalist and Conceptual art of the 1960s and 70s through the work of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, and Lawrence Weiner, among others.

Whether through painting, drawing, sculpture, video, or other media, contemporary artists have drawn on the centuries - old tradition to create works of conceptual vivacity, beauty, and emotional poignancy in the present time.Structured according to the classical categories of the still - life tradition — Flora, Food, House and Home, Fauna, and Death, each chapter in Michael Petry's book explores how the timeless symbolic resonance of the memento mori, has been rediscovered for a new millennium.

(In the 1990s, under the alias of his organization, the GALA Corporation, he worked props into the TV show Melrose Place in collaboration with the series» writers, as a conceptual work about how ideas get disseminated.)

Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.

Featuring works by eight artists working in New York, Chicago, Detroit, and Kansas City — with varied relationships to the Global South — Queer Tropics both embraces and blurs this conceptual and literal distance in order to better understand how we relate to place, whether real or imagined.

In the words of Emilie Keldie, director of the Felix Gonzalez - Torres Foundation, «Felix Gonzalez - Torres: Billboards beautifully illustrates the ways these artworks can re-contextualize the locations in which they are installed and how they can continually accrue meaning in new settings... Gonzalez - Torres considered the ongoing photo - documentation of the billboard works to be a conceptual part of the artworks themselves; the Billboards book is a fantastic resource for anyone interested in that aspect of the work.»

Like other text works by the artist they are perhaps the most conceptual, but can also become highly visceral in how they bring the simplicity of words and ideas into our minds for our imagination.

will feature a collection of significant sculptural and framed works by the artist and will look at how and why words and phrases have continued to reappear in Orensanz» conceptual practice.

Taking a conceptual approach to making objects, Amanda Ross - Ho mines her life, the Internet and her own art to create poetic works that investigate how language is structured and relationships are formed.

Centering on common conceptual threads across their practices, Amanda Curreri and the Guerrilla Girls will consider visual strategies, how social justice and cultural topics inform their work, and invoking social activism as a methodology for engagement.

He also considers the validity of conceptual art, the influence of ideas, how art and politics serve the working class... and reveals that he went to school with English politician Nigel Farage.

Her work has a meticulous, aesthetic elegance underpinned by conceptual rigour: she investigates how artworks are perceived and understood and this process becomes part of the presentation.

Lauri Stallings is a conceptual artist working with ideas about how we associate with one another, and have intensely private moments in public spaces.

The first half of the exhibition shows how artists in 1960s and 1970s, working in the context of Minimal and Conceptual art, were drawn to photography for its differences from traditional art media: it was low - tech, easily reproducible, and not considered a valuable art object.

These recollections, these flickers of memory of seeing a particular artist's work or body of work, are what pushes the conceptual underpinning of his work beyond process and the merely compositional, and how he asks us to ponder our own aesthetic experience.

Created between 2012 and 2018, the works on display explore the varied approaches towards painting Tyson employs, from conceptual to mythological to formalist and beyond, and how these methodologies are united in the final result of paint on a canvas.

Kawara gave special prominence to language, and his work is among those conceptual art examples that show how visual art skills are not necessarily required for a perfect artwork (of course, this does not mean On Kawara wasn't a master in visual art).

This emphazises the conceptual aspects of his work and how these operate beyond specific works.

Bringing together a wide range of practitioners, stemming from different disciplines — from art, architecture, music to theatre — and working with different media — sculpture, painting, film, photography, performance as well as design — the exhibition aims to explore how the corner suggests itself as solution, station or metaphor in investigations that stem from different artistic premises, or advance different conceptual propositions.