Sentences with phrase «including social sculpture»
Adam Kleinman and Cally Spooner offer contemporary responses to themes including social sculpture, global politics and the production of reality, which resonate with Latham's understanding of time and history.
https://shop.serpentinegalleries.org/ Not exact matches
About Blog A blog that includes Sculpture, Works on Paper, Digital Prints, Wood Sculpture, Photograhy, Contemporary Art, Writing, Political and Social Commentary.
About Blog A blog that includes Sculpture, Works on Paper, Digital Prints, Wood Sculpture, Photograhy, Contemporary Art, Writing, Political and Social Commentary.
Artwork ranges from drawing, photography, sculpture, installations, film and video to performance and social practice taking place in both urban and rural landscapes, and include works that are narrative, political, performative, and conceptual examples of contemporary art.
Blending the personal with the political, McMillian has worked in a range of mediums and materials, including sculpture, painting, video, performance, and immersive environments, to explore themes of class, gender, race, social history, and culture.
Including prints, sculptures, paintings, and Combines, the exhibition illustrates how Rauschenberg «broke down boundaries between disciplines, anticipated many of the defining cultural and social issues of our time, and redefined what are could be for g
Residencies include The Riverside Art Museum and Joshua Tree National Park Residency Program, Cuts and Burns Artist Fellowship, The Outpost, Brooklyn, NY, and The Old School for Social Sculpture, Catskills, NY.
Exhibiting a wide variety of mediums including photography, video, painting, sculpture, drawing and site - specific installations, Party Out Of Bounds presents both past and present nightlife scenes from Nelson Sullivan's video documentation of late performers Ethyl Eichelberger and John Sex, to Jessica Whitbread's No Pants No Problem Party, an underwear dance party exploring social gathering as a space of advocating for HIV and sexual / gender rights and combatting stigma.
Artists working in all mediums (including — but not limited to — video and film, new media, installation, painting, social practice, sculpture and performance), as well as curators, are encouraged to submit exhibition proposals.
24/7 will include Perry's major works in drawing, sculpture, collage, installation, video, photography, and social media - some of which has been created specifically for this exhibition.
Goldner's installations include steel sculptures, video, photography and sound combining poetry, patterns, forms and African themes that engage in social discourse.
Originally staged at the Queens Museum of Art, Reyes's Hammer Project will include a group of sculptures — including Drone Dove and Colloquium — and several paintings on Tyvek that graphically portray political, social, and environmental issues being faced by our world today.
Yet while the official art - historical narrative of that generation — Basbaum's peers include Beatriz Milhazes, Leonilson and Barrão, who came of age during the emergence of Brazilian democracy — highlights an almost postpolitical identity in which art is primarily a mode of self - expression as opposed to a form of social consciousness, Basbaum's sculptures, drawings, photographs and actions see the artist tie self - affirmation to the notion of the (still) political subject.
This exhibition explores the social and cultural impact of these vessels and showcases over 250 objects, including paintings, sculpture, and ship models, alongside objects from shipyards, wall panels, furniture, fashion, textiles, photographs, posters and film.
Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter «Dave Drake»; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation.
Her practice encompasses a wide range of supports — including painting, video, sculpture, photography and installation — , through which she investigates certain power structures that underlie social and economic ties.
Fabri's artistic practice seeks to create a space for discourse around social and political systems of oppression through artworks that manifest in a range of mediums, including drawing, performance, photography, sculpture, and video.
Participants will have a role in determining the form of the book and its contents, which may include photographic documentation, scholarly texts and interviews that contextualize McCabe's residency and the practice of «social sculpture».
Artists selected for this program are at all stages in their careers and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, and architecture.
Designed by the artists to include a site - specific sculpture on FLAG Art Foundation's outdoor terrace, overlooking the Hudson River, the show addresses existential issues linked to identity, sexuality, and mortality, as well as an examination of social value systems and the expectations that surround them.
Group exhibitions include; «Soft Power, Arte Brasil», Kunsthal KAdE, Amersfoort, The Netherlands (2016); «All Heritage is Poetry», Fundação Eugénio de Almeida, Evora, Portugal (2016); «What Separates Us», HS Projects, The Embassy of Brazil, London, England (2016); «Drawing Biennial», Drawing Room, London, England (2015), «Warp and woof», The Hole, New York, USA (2014), «A Sense of Things», Zabludowicz Collection, London, England (2014); «Threaded Stories», Stephen Friedman Gallery, London, England (2013); «3 am: Wonder, Paranoia and the «Restless Night», The Bluecoat, Liverpool, UK; travelling to Chapter, Cardiff, Wales, UK; The Exchange, Penzance, Cornwall, UK; Ferens Art Gallery, Hull, UK; «Site: Place of Memories, Spaces with Potential,» Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2013); «Labour and Wait,» Santa Barbara Museum of Art, California, USA (2013); «Além da Vanguarda,» Bienal Naifs do Brasil, SESC Piracicaba, São Paulo, Brazil (2012); «Mythologies, Cité Internationale des Arts,» Paris (2011); «Undone: Making and Unmaking in Contemporary Sculpture,» Henry Moore Institute, Leeds (2010); «Epílogo,» Museo de Arte Zapopan, Guadalajara, Mexico (2010; «Going International,» The Flag Art Foundation, New York, USA (2010); «Textiles Art and the Social Fabric», MUHKA, Museum of Contemporary Art, Antwerp, Belgium (2009); «Blooming: Brazil - Japan Where you are,» Toyota Municipal Art Museum, Japan (2008); «The British Art Show 06,» Hayward Gallery touring exhibition, UK (2006).
«Seismic Shifts» will showcase artists and architects whose work challenges disciplinary boundaries and raises critical social, environmental and political issues and will include painting, drawing, sculpture, photography, mixed media, video, and architectural models created between 2005 and 2012, with a number of new works featured.
This 22 - year period spans his interactive sculptures, including his celebrated Nature Carpets, and his subsequent creative work with many radical social and political movements in Italy and around the world.
The included works range from painting and sculpture to VR technology and 3D animation, shedding light on the idea of «the virtual» not solely as a computer - generated technology, but as a concept linked to the potential to remap social and political landscapes through a reorientation of the physical and sensorial.
Her practice, which includes paintings, sculptures, poetry, performance, explores the influence on technology and social media on our lives and language.
Through a variety of mediums including film, painting and sculpture, like · ness offers an aesthetic overview of social pressures, the human body and the correlation between vanity, insecurity, and self - obsession.
His work, which includes sculpture, installation, performance, and photography, investigates the mediation of constructed identity in social arenas and subsequent dislocation.
Presenting text - based video and sculpture, the included works negotiate the social conditions through which sound is produced, exchanged, and absorbed.
[24] He culled objects from nearly every department of the museum, including religious paintings, many depictions of nudes, social satire and some erotica; among the selected works, therew were sculptures by Auguste Rodin of lesbians embracing, and furniture from the Bauhaus, the avant - garde German design school closed down by the Nazis.
Their themes of collective or individual exploration include: histories of textile and garment manufacturing from cottage industry to global production; craft / art / design dialog; social and gendered histories of labor; and textiles as surface, sculpture and architecture.
Additional works in the exhibition include Thirty - eight works by Andy Warhol, four bronze sculptures depicting figures who are part human, animal and machine by William Kentridge illustrating social and political life in South Africa; and Olafur Eliasson's Fivefold Sphere Projection Lamp which compels us to view ourselves in relation to space as well as time.
The wide variety of materials that constitute the exhibition (including collections of photographs, slide projections, periodicals, recent film and video installations, sculptures, and printed works on paper) create numerous situations within which to consider not only the materiality of images and the technologies that form their reception, but also the conflicted social history that lies under their surfaces and is inextricable from their origins.
The wide - ranging responses enacted throughout Lower Manhattan highlighted in the exhibition include the institutionally - supported erection and eventual removal of Richard Serra's large - scale sculpture Tilted Arc; Keith Haring's radiant subway drawings in the space of everyday transit and their lasting impression on street art culture; and Jenny Holzer's conceptual texts focusing on social and political commentary wheat pasted in heavily populated public spaces, among others.
Exhibitions feature an international roster of emerging and mid-career artists working in a range of media, including painting, photography, sculpture, installation, and performance, who are connected by their focus on political, social, and environmental issues of national and global concern.
[4] Inspired by the concept / model of Joseph Beuys social sculpture, that have the potential to transform society, ART / MEDIA was an extended artwork that included human interactions, creating structures and systems within society using language, thought, objects, events and actions.
All artistic media will be accepted for jurying including sculpture, drawing, painting, printmaking, photography, video, film, media, installation, social practice, performance and more.
Works variously informed by social and political questioning, countercultural histories, the deconstruction of media and art history images include sculpture by Eva Rothschild and installations by Alan Phelan and Garrett Phelan for whom political and ecological activism is central.
Working primarily in painting, sculpture and photography, the artists address a variety of concerns in their work including issues regarding our decaying industrial society and contemporary social structures.
Her recent curatorial projects also include Crossroad: A Social Sculpture by the New York - based artist Derrick Adams and, in 2015, Power of People, Power of Place by the Los Angeles - based collective Fallen Fruit.
Central to all of Shonibare's work, which includes sculpture, painting, photography, and film - making, is the debate about social, cultural, and political issues that shape history and constructs identity.
The Bruce High Quality Foundation: Ode to Joy, 2001 — 2013 is a retrospective of over fifty works by The Bruce High Quality Foundation, a Brooklyn - based artist group whose production includes subversive and often humorous installation art, live performance, film, and social sculpture.
Contemporary sculpture has opened the relationship between painting and sculpture considerably, and it has expanded beyond the formal issues expounded by Judd to include political, social, and cultural content.
Artists selected for this program are at all stages of their careers and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, and architecture.
Presenting a diverse group of artists and activists who lived and worked at the intersections of avant - garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking.
His work, which spans across media to include sculpture, installation and painting, examines the borders between artistic practice, social reality and politics.
His influences included Joseph Beuys and his idea of social sculpture, and artists Allan Kaprow and Dieter Roth.
Including works in sculpture, painting, and new media by an intergenerational group of more than 60 artists, The Black Woman is God is an exploration of the artistic and social contributions of Black women.
Along with the Annuals and Biennials, the Whitney Museum has organized significant exhibitions including American Genre: The Social Scene in Paintings and Prints (1935), European Artists in America (1945), Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth - Century American Art (1958), Anti-Illusion (1969), Calder's Circus (1972), 200 Years of American Sculpture (1976), Jasper Johns (1977), Nam June Paik (1982), and Nan Goldin: I'll Be Your Mirror (1996).
MOCA was the first «alternative art space» in the United States, and it presented many landmark shows, (including the first «Sound Sculpture» show in 1970), and also provided a social situation for artists.
In addition to her visual and social arts practice, which encompassed works on paper, sculpture, textiles, performances, and community actions, Lai collaborated with several theater companies, including Fueddu and Gestu.