Throughout Know Yourself, banality unifies dissimilar works that range from found images to recontextualized readymades, acting as a point of entry for more substantial discourse about authenticity, ownership of art objects, and the complex
identities of artists.
«Beyond
the identities of the artists and curators we work with, we strive to showcase programming that pushes boundaries in content, concept, and form,» they explain, emphasizing the importance of inclusivity.
The growing influence of Western art makes it hard to spot the nationality and cultural
identities of the artists through their work.
It also fosters dialogue at the benefit art sale on the possible
identities of artists contributing works for sale and the artist who may have made the anonymous work exhibited in the art sale.
Gurrola assumed
the identities of artists, from Diego Rivera to de Chirico, to make shameless, straightforward and Mexicanized bad - painting reproductions of the original artists» work.
One is Griselda [Pollock], who Richmond cites to make the case that, «a feminist perspective (or problematic) is determined not by the gender or political
identity of the artist but rather the «effect» of the work: «the way it acts upon, makes demands of, and produces positions for its viewers.
Bertrand Lavier is a persistent explorer of reality: through his artworks he challenges and questions the notion of
the identity of the artist, and the relationship between the artists ego and the rest of the world, each work is a sardonic dare towards the insufferable codes and rules of the art system and of contemporary culture.
It was a movement in emphasis, from one dominant form of art that had existed for centuries to a new and challenging one; one in which
the identity of the artist was offered as a simultaneous alternative to the traditional object, historically identified as «the subject» of a piece.
All artwork is exhibited anonymously, and
the identity of the artist is revealed only after the work is purchased.
A couple of years later he visited the Nova Scotia College of Art & Design where I then taught and thus I discovered
the identity of the artist who had created those strange «blps,» and I had the opportunity to get to spend some time with him.
Today, when you eat Thai curry (Rirkrit Tiravanija) or walk through a garden of black flowers (Jenny Holzer), you understand that
the identity of artists has become inseparable from questioning their practice; ontological Conceptualism has become so totally invasive that it is no longer possible to speak about it in terms of influence.
The exhibition considers acts of inhabitation, borrowing, and trespassing that locate the artwork as a facilitator of exchange, able to divert the viewer or collector into relationship with the political and social
identities of the artist.
«It shows that
the identity of the artist is weaker in the work.
«By doing this project, I have almost given up
the identity of the artist; it involves everyone putting themselves into the installation — I was just the starting point, the person who will lead the audiences and the musicians into the space — what they do when they «enter the dragon» is up to them.»
A new
identity of the artist is asserted in which the self is measured in the interaction with the other, both mirroring and questioning societal norms.
Each piece was exhibited anonymously, and
the identity of the artist is revealed only after the work is purchased.
Offered on a first - come, first - served basis, each piece is exhibited anonymously, and
the identity of the artist is revealed only after the work is purchased.
The issue of
the identity of the artist presenting work about a trauma that is not her or his own recalls the recent controversy around Dana Schultz's painting of Emmet Till in the 2017 Whitney Biennial.
For details, visit www.thebody.com/visualaids Offered on a first - come, first - served basis, each piece is exhibited anonymously, and
the identity of the artist is revealed only after the work is purchased.
Each artist is portrayed with their own art work, often using masks or props to obscure
the identity of the artists.
[1] How does the racial
identity of an artist affect the way they create art and the perception of it by the masses?
20 November Exploring CONTEXT including
the identity of the artist behind the works and the art world behind the artist.
In this sense a painting by Pollock, de Kooning, or Kline embodied a spontaneous act of creativity that defined the style of the painting,
the identity of the artist, and even art itself, in the process of painting.
Hirsch succeeds in bringing together works made in a number of periods of her life and levels of awareness, ultimately creating a reflection on
the identity of the artist not often seen or explored.
[3] Starkweather's work ranges from interior scenes to landscapes and portraiture, and often revolves around the symbolic
identity of an artist.
Now eight years later questions still remain as to the true
identity of the artist as he has never been positively identified.
Not exact matches
When details
of her self - titled 2013 album were originally leaked earlier that year under the moniker Mrs. Carter, it was panned by some critics for its foreshadowed embrace
of the
artist's still - new
identity as hip - hop mogul Sean «Jay - Z» Carter's wife rather than the trailblazing feminist icon who coined powerful female anthems like Irreplaceable, Single Ladies and Independent Women from her Destiny's Child days.
Upon careful analysis, at least ten such points become apparent: (1) Blake alone among Christian
artists has created a whole mythology; (2) he was the first to discover the final loss
of paradise, the first to acknowledge that innocence has been wholly swallowed up by experience; (3) no other Christian
artist or seer has so fully directed his vision to history and experience; (4) to this day his is the only Christian vision that has openly or consistently accepted a totally fallen time and space as the paradoxical presence
of eternity; (5) he stands alone among Christian
artists in identifying the actual passion
of sex as the most immediate epiphany
of either a demonic or a redemptive «Energy,» just as he is the only Christian visionary who has envisioned the universal role
of the female as both a redemptive and a destructive power; (6) his is the only Christian vision
of the total kenotic movement
of God or the Godhead; (7) he was the first Christian «atheist,» the first to unveil God as Satan; (8) he is the most Christocentric
of Christian seers and
artists; (9) only Blake has created a Christian vision
of the full
identity of Jesus with the individual human being (the «minute particular»); and (10) as the sole creator
of a post-biblical Christian apocalypse, he has given Christendom its only vision
of a total cosmic reversal
of history.
Leaning on Winnicott's observation that the human infant is born «an
artist and a hedonist,» Dykstra believes that preaching has suffered from the rejection
of these
identities by most clergy.
Sixty years ago, it was taken for granted that a significant portion
of American writers were Catholics who balanced their dual
identities as
artists and believers.
And, well, since you probably already hate this comment, do you think that maybe, just maybe, your own
identity «as a as a graffiti
artist on the walls
of religion where he critiques religion... specifically Christianity and the church» got threatened just a little bit with this post?
The life and wines
of an earlier Hunter wine
identity, Maurice O'Shea, were particularly inspirational for a number
of Australian
artists.
Elisa Kreisinger, a feminist video remix
artist, comments on Political Remix Video that while it's easy to criticize Betty on the show, the remix highlights how her awful parenting is the result
of tension between her
identity as a mother and as an individual:
Artist's National Portrait Gallery show, tying in with C4 series, explores British
identity, including that
of jailed cabinet minister
Identity is at the heart
of artist Stéphanie Solinas's tantalising exhibition in San Francisco, where she explores how others see us
Today at the meeting
of AAAS (publisher
of Science) here, researchers discussed how scientific analysis can help identify the
artist behind a painting, even when his or her
identity has been lost for centuries or millennia.
Dr Jago Cooper said: «For the millions
of indigenous peoples living in the Caribbean before European arrival, caves represented portals into a spiritual realm, and therefore these new discoveries
of the
artists at work within them captures, the essence
of their belief systems and the building blocks
of their cultural
identity.»
Next time someone asks you what you do, dive right into the nitty gritty and say, «I'm a freelance graphic
artist that lends her skills to a variety
of small businesses looking to improve their visual
identity.»
«You have the hands
of a craftsman, not an
artist,» says a friendly village priest (Paolo Bonacelli) to an American expatriate whose
identity is ambiguous but whose face is recognizable to the rest
of us as George Clooney's.
The fine line between failure and success is as thin as the thread that separates love and tragedy, and in this tale
of a self - destructive
artist attempting to regain his
identity after a harrowing bout with commercial success, one man finds out just how difficult it can be to built a stable future on the foundation
of an uncertain past.
But among
artists and scholars alike, the Asian nonhuman has also posed the utopic possibility
of an
identity free from the white gaze through the construction
of a new life.
The poignancy and tension that run through
artist Cannon's art speak to a larger discussion going on today as the United States grapples with thorny questions
of ethnic
identity, land rights, and cultural heritage.
In the comics, Legion / David (created by writer Chris Claremont and
artist Bill Sienkiewicz) is the son
of Professor Charles Xavier and Gabrielle Haller, has dissociative
identity disorder, and Omega - level (read: HOLY SHIT) mutant abilities.
The soulful main theme, «Trouble Man», wields the idiosyncrasies
of the legendary Motown
artist while echoing the emotional journey
of Robert Hooks» lead character Mr T. Advancing Gaye's outline
of soundtracking for a new generation
of film and music lovers, Lamar evidently foregrounds his own musical
identity while adding nuance to Black Panther's characters via the lead single «All The Stars».
At the end
of Iron Man, after revealing his
identity as the armored superhero to the world, an exhausted Tony Stark (Robert Downey Jr.) returned to his mansion, only to be greeted by Jackson's Fury who emerged from the shadows with word
of a superhero team: the Avengers — clearly influenced by The Ultimates comics by writer Mark Millar and
artist Bryan Hitch.
On the other hand, her creative partner JR is quite literally an unknown quantity: the visual
artist and street photographer's
identity is uncertain, and while he has directed a handful
of films, including a short starring Robert De Niro, to my knowledge he has made no significant splash in the world
of cinema until now.
That being said,
of all the films discussed herein, Monster remains the most productively enigmatic, dredging up questions
of art and the
artist in tension (and the individual and gender
identity) with more urgency than the others.
The blindingly real portrayal
of the life
of Gerda (played by Alicia Vikander), the wife
of the
artist who experiments with female
identity and then decides to change gender, should have been the focus
of the film, not the story
of Lili / Elbe (Eddie Redmayne).
Do we understand that the con
artist has been alone and pushed around all
of her life, or does not know her real name or has to steal
identities because she has none
of her own?
In this challenging and lyrical piece, the
artist problematizes structuralist and post-structuralist notions
of interiority /
identity to arrive at a catharsis
of shape and texture.