Sentences with phrase «identity through»

Hank's interest in commodity culture and identity through multiple perspectives shows viewers how images / objects can diverge from common understandings of Black life in the Western tradition.

Driven by personal and political motivations, many of the photographers sought to provide an authentic representation of the disenfranchised communities with whom they spent months, years or even decades with, often conspiring with them to construct their own identity through the camera lens.

Working in painting, sculpture, photography, film and installation, Shonibare's work examines race, class and the construction of cultural identity through a sharp political commentary of the tangled interrelationship between Africa and Europe and their respective economic and political histories.

The final space significantly changes the course of the conversation with the theme Performing Identity Through the Portrait.

Next Barron approached Mickalene Thomas, known for her exploration of femininity, race, and identity through colorful, provocative paintings modeled in a»70s blaxploitation - style.

In her second exhibition at Peres Projects, Kara uses painting, sculpture and photography to explore questions of identity through those of anonymity.

«Beyond the technical virtuosity, an unbridled imagination and ground - breaking artistic collaborations, Gaultier offers an open - minded vision of society, a crazy, sensitive, and sassy world in which everyone can assert his or her own identity through a unique «fusion couture.

The graphic, diagrammatic paintings of New York — based painter and filmmaker Sarah Morris (born 1967) play with notions of social space and identity through rigorous abstraction.

I am exploring identity through fragmentation, restructuring and rebirth.

The first comprises Lum's earlier and more familiar pieces, which experiment with how individuals convey or project identity through language conditioned by class.

Museum of Contemporary Art (MOCA), North Miami Smit's First U.S. Solo Exhibition Explores Identity through Naturalism and Abstraction; Artist Reception to take place March 15, 2018 North Miami, Fla. — Feb. 6, 2018 — The Museum of Contemporary Art (MOCA), North Miami will open its spring season with the presentation of -LSB-...]

Farming is the way into people supporting a neighborhood while nurturing identity through bending and toiling and planting seeds while getting dirty together.

But the government's ambition to reflect the country's postcolonial identity through art was met with resistance from a number of artists who resented the government's use of art for political gain.

Pendleton engages with language, abstraction, and identity through a wide range of media, including painting, sculpture, writing, film, and performance.

The work references one of Emin's most famous sculptures My Bed (1998), but, in stark contrast to this earlier work which celebrated the artist's sexual identity through real life details, Dead Sea hints at a sexual desire set adrift.

Valdez will debut a series of observational still lifes, examining aesthetic history and personal identity through the objects of domestic space.

From June 3rd until June 24th, the gallery is hosting an exhibition Anna Valdez: Works Sighted, featuring a series of observational still lifes that examine the aesthetic history and personal identity through the objects of domestic space.

The exhibition explores the mutually shaping processes of urban space and human identity through photography, mixed media, sculpture, performance, and site - specific works.

He continues to explore this duality of personal and cultural identity through the medium of photography.

Inspired by the exhibition in our main gallery Technologies of the Kitchen (Lasse Lau & Flo Maak), Pro Arts teaching artist, Paula Hansen organized an exhibition for Pro Arts» Project Space, in which OUSD TK - K students expressed their ideas about identity through art.

The fabric is a signature element in Shonibare's work, which frequently explores the notion of identity through political and historical contexts, such as colonialism and globalisation.

Brown is concerned with the stylistic appropriation of African - American cultural forms and with the global construction of identity through consumerism.

Kent Henricksen is an American artist based in New York whose work explores race, violence and identity through sculpture, painting, drawing, and installation.

Han also explores the themes of ideal beauty and racial identity through her work in sculpture — executed in a wide range of materials and hands - on processes.

In her new body of work, being presented at The Front, examines identity through death, and changing of family history.

For several years he has been working on a series of ink drawings that critically look at the effect visual languages have on culture and identity through the use of mapping and cartography.

Over the last few years, she continues to explore themes of home and identity through drawing, painting, textile, photography... and now, motorcycles.

While «painting as object» has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism — scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting's ability to push into objecthood.

In her conceptual projects, Calle immerses herself in examinations of voyeurism, intimacy, and identity through image, object, and text.

The exhibition, called «My Country Has No Name,» takes on race, nationhood and identity through the fine tip of a ballpoint pen.

«Creative Time Global Residency: Reports From the Field», New York, NY, December 3, 2013 «Urban Imprint: The Art and Science Shaping Our Cities,» hosted by The University of Chicago, Jazz at Lincoln Center's Frederick P. Rose Hall, New York, NY, November 14, 2013 «Cultural Investment: Creating a Civic Identity Through the Arts,» CityLab: Urban Solutions for Global Challenges, NYU Skirball Center for the Performing Arts, New York, NY, October 7, 2013 «One State Together in the Arts» One State Illinois Conference, Quad Cities, IL, June 24, 2013 «Theaster Gates in Conversation with Romi Crawford,» Black Collectivities, Museum of Contemporary Art, Chicago, Chicago, IL, May 4, 2013 «LINC Legacy and Advancements in the Field,» hosted by the Ford Foundation, May 2013 «Constituency Engagement — Culture - Initiated Redevelopment: Strategies in Innovative Constituent Engagement,» Association of Black Foundation Executives, Palmer House Hilton Hotel, Chicago, IL, April 6, 2013 «Creating Heat - The Artist as Catalyst: Theaster Gates at TEDxUNC,» University of North Carolina at Chapel Hill, Chapel Hill, NC, February 9, 2013 «Building CapaCity Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 26, 2013 «Creative Resilience Session,» World Economic Forum Annual Meeting, Davos, Switzerland, January 25, 2013 «Transformative Art: Theaster Gates,» World Economic Forum Annual Meeting, Davos, Switzerland, January 23, 2013

As a black man born in Manchester and now living in Trinidad, half a world away from the endless machinations of the London art world and London's art dealers, how has Ofili defined his own experience of being alive, and succeeded in establishing his own black cultural identity through his art?

Highlighting the exceptional work of some of the most dynamic and thought provoking African American visual artists in the last three decades 30 Americans provides visitors new and different lenses to view black identity through their art.

During an artist residency in Duntara Newfoundland Professor Brunet explored the concept of identity through cultural referent; the objective was to appropriate objects of meaning that convey a deep sense of cultural identity.

Adrian Ghenie highlights an era that questioned man's significance, the existence of God, and the question of Creationism — through a use of paint that suggests the anamorphic nature of identity through the evolution of scientific understanding, and contradiction of the Baconian flesh that presents it.»

In this exhibition, No Fault of the Soul, Vuong investigates the flexibility within identity through a series of self - portraits.

This living arrangement has interested Vance in how space and circumstance inform the development of identity through a complex web of experiences.

Virtually all are manipulated somehow, either through advance digital processes, crude Microsoft Paint - like effects, or in - camera techniques, filters, dyes, and mirrors with which Samaras established his early reputation as proto - Photoshop artist and kind of define his career - long probing of his psyche and identity through altered images.

Saxelby creates participatory installations that investigate contemporary cultural relationships to women and feminine identity through ritual practices and sacred spaces.

Psychological Realism is a group exhibition at Paul Booth Gallery exploring the intricacies of identity through depictions of the human body in a range of styles from finely representational to boldly expressional.

Common themes throughout the exhibition showcase rituals in the home and the display of social identity through material culture.

Early works such as «Art Sucks» (1972) address the double bind of the female artist's wish, although subordinate to the male artist, to reclaim her identity through the very thing that has removed herself from it: art.

Psychological Realism is a group exhibition at Paul Booth Gallery exploring the intricacies of identity through depictions of the human body in a range of styles from finely representational to boldl

The artworks in «APATHiE» consider the constructs of femme identity through methods of coping with anger and outrage resulting from western patriarchy.

The exhibition is structured in chapters whose themes are the man - eating outsider or non-human; the relationship with others and construction of an individual and group identity through a dual movement of incorporation and rejection; the body as an organism capable of transformation, and which feeds on and feeds others; eroticism and all - consuming passion; violence and horror; ritual and sacrifice; and images from childhood, derived from tales and legends.

In these photocollages Titova uses photographs of social protesters rejected by mass media for which they were originally made and photographs taken by the military in conflict sites to question the relationships between the lived environments, institutional power and the production of identity through the optics of historical narration.

WOMEN LOOK AT WOMEN explores feminine identity through the work of thirteen internationally renowned women artists.

The artist's work reflects sensitivity to his Hispanic roots, but does not conform to a predetermined cultural persona or preoccupation; his work confronts issues related to his gay identity through elegant metaphor.

It's difficult to approach Stark's body of work without confronting the inherent conflicts that arise from negotiating identity through form.

Many of her works capture the expression of individual identity through groups (couples, teams, crowds) and reveal an undercurrent of her own biography vis - à - vis her subjects.