Sentences with phrase «important contemporary visual»

Not exact matches

GoMA's aim is to build a world - class collection of contemporary visual art through the acquisition of important national and international works of art.

Laing's works have been included in many important international museums and biennials including the Museum of Contemporary Art, Sydney, Frist Center for the Visual Arts, Nashville, USA; and the National Museum of Art, Osaka, Japan; and Biennale of Sydney (2008), Venice Biennale (2007), Busan Biennale (2004), and Istanbul Biennial (1995).

Since then, she has received numerous grants and awards, including an AVEK - award for important achievements in the field of audio - visual culture (1997), the Edstrand Art Price (1998), a DAAD fellowship (1999), honorary mention at the 48th Venice Biennale (1999), the Vincent Van Gogh Bi-annual Award for Contemporary Art in Europe (2000), and a five - year grant from the Central Committee for the Arts (2001), as well as the Artes Mundi Prize (2006).

Many of the forms used to represent roads, buildings, and train tracks seem to derive from visual symbols used in contemporary printed Japanese maps, an early example of the interplay between painting and popular visual language and print media which is so important in contemporary Japanese work.

Over the recent decades the Turner Prize has played a significant role in provoking debate about visual art and the growing public interest in contemporary British art in particular, and has become widely recognised as one of the most important and prestigious awards for the visual arts in Europe.

The purpose of these programs is to foster new forums for the discussion of important issues related to the contemporary visual arts and culture and to encourage new scholarship and exhibition initiatives that can contribute to the development of the graduate curriculum.

He has recently worked on an important appeal under the Visual Artists Rights Act of 1990 on behalf of the Swiss installation artist Christoph Büchel in the artist's highly publicized dispute with the Massachusetts Museum of Contemporary Art.

These artists have had great significance for the development of international contemporary art, either because they have created visual languages, objects and pictures of originality and quality, or because they have reinvented important aspects of cultural production.

Not only does the Gallery 2 program broaden the audience's basis of visual reference and education — as it is important to explore the relationship of contemporary practice and historical lineage — but it also affords the gallery the opportunity to work and build relationships with artists who are represented by other galleries, artists whose trajectories hold a different primary focus than the gallery, as well as young artists.

The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.

Together, these historical and contemporary objects depict a visual narrative of the Northwest while providing insight to significant works by artists such as Northwest School members Carl Morris, Morris Graves, and Mark Tobey, legendary Oregon artist C.S. Price, and the acclaimed Jacob Lawrence, who is best known for depicting important moments in African - American history.

Some of his works exhibited at the Centre Pompidou, are: The aquariums in the «Equilibrium» series (1985), «Rabbit» (1986), «Michael Jackson and Bubbles» (1988) and «Balloon Dog» (1994 — 2000) that have gained immense popularity and made their mark on contemporary visual culture, and are coming from large and important collections of contemporary art internationally.

For the first time in the US, these important video works spanning a 25 year history of collaborations between contemporary dance, movement, and visual art with film and video were shown.

«Grace's highly regarded tenure as the Curator of Contemporary Art at the Laguna Art Museum, coupled with her recent work in Portland as an arts writer and critic, make her an ideal candidate to lead our important mission of evaluating and celebrating our region's historical and burgeoning visual arts scene.»

The Prize is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.

Musee d'Art Contemporain de Montreal Established in 1964, the Museum of Contemporary Art in Montreal - Canada's only cultural venue devoted to both performing and visual arts - maintains a collection of over 7,000 works of art by more than 1,500 contemporary artists, focusing on postmodernist Canadian art, as well as important internatioContemporary Art in Montreal - Canada's only cultural venue devoted to both performing and visual arts - maintains a collection of over 7,000 works of art by more than 1,500 contemporary artists, focusing on postmodernist Canadian art, as well as important internatiocontemporary artists, focusing on postmodernist Canadian art, as well as important international artists.

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.

Through a forthright juxtaposition of the rational / irrational, controlled / uncontrolled / static / dynamic visual elements of typography and visual abstraction, THIS raises important questions about context and meaning in contemporary art practice.

At the same time, recurrent intellectual property battles around appropriative gestures in contemporary art have threatened its viability, giving rise to College Art Association's important report published in February 2015, the Code of Best Practices in Fair Use for the Visual Arts.

Ligon draws important visual and thematic comparisons between the subtle shades of blue and black used in Ofili's Blue Devils (2014) and the «mood indigo» of the installation Concerto in Black and Blue (2002) by David Hammons — helping to further contextualize and integrate his artworks into a timeline of contemporary - art reference points with which U.S. and wider international audiences might be more familiar (87).

It is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.

Exploring one of the most important chapters in the history of contemporary art, The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns focuses on Marcel Duchamp's American legacy, tracing his relationship to four great modern masters — composer, John Cage, choreographer, Merce Cunningham, and visual artists Robert Rauschenberg and Jasper Johns.

«Graham Fagen's presentation will continue this tradition of showcasing some of the best Scottish contemporary art within the context of one of the world's most important exhibitions of visual art.»

Bruce Grenville, Senior Curator of the Vancouver Art Gallery, said: «The MashUp exhibition and publication trace a distinct path through the history of modern and contemporary art and visual culture, in response to a considerable void in the scholarship on this important subject.

It is intended to promote public discussion of new developments in contemporary British art and is widely recognized as one of the most important and prestigious awards for the visual arts in Europe.

The highly stylized face evokes both the primitive scribbles of a child and the elaborate iconography of ancient African reliquary masks, both important influences on the young Basquiat who, like his hero Picasso, interrogated long - forgotten artistic traditions in his interpretations of contemporary visual culture.

Recognised internationally as one of the most important and pioneering contemporary artists, the work of James Coleman over the last forty years has transformed the role of image and sound in visual art, and redefined our relationship with the artworks we see today in museums and galleries around the world.

This important moment in the history of the museum marked a defining shift towards a view of contemporary art that locates it within the broader landscape of contemporary visual culture — a direct reflection of the growing importance, from the early 1990s onwards, of film and cinema in contemporary art production, as well as the convergence of film and visual art as once - distinct media.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

The residency also plays an important role in advancing the visual arts on the Emmanuel campus, providing an important educational program on contemporary art accessible to students, staff, and faculty.

Another important show was TEXTILES: OPEN LETTER curated by Rike Frank and Grant Watson for the Museum Abteiberg — a very well thought - out exhibition, which explores the often unacknowledged role textiles played in the development of visual abstraction and serial composition — from modernism to contemporary art.

The exhibition and its accompanying catalogue will examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture.

The prize is intended to promote public discussion of new developments in contemporary British art and it is widely recognised as one of the most important and prestigious awards for the visual arts in Europe and beyond.