Sentences with phrase «into cultural spaces»

He's turned vacant homes into cultural spaces and transformed a former housing project into a mixed - income residential and arts hub.

An artist with two urban planning degrees, he transforms abandoned buildings into cultural spaces in Omaha, St. Louis and Chicago, where he lives and works.

Not exact matches

«It's set during Mao Zedong's Cultural Revolution, and kicks off when an alien race decides to invade Earth after the Chinese government covertly sends a signal into space,» Business Insider explains.

Last summer, he turned a building Lightspeed had just vacated into Never Apart, a non-profit cultural space that features the work of emerging artists.

Rather, what Crouch did was to continue the tradition of creating new cultural forms from within the folk culture he inhabited and taking such artifacts into a broader public space.

However, social media has allowed for the amplification of conversation - killing cultural outrage inside and outside the Church, turning spaces for sharing rhetoric into echo chambers with a cacophony of voices declaring, in so many words, «it's us versus them!»

While TransPaw Gear ® pet harnesses ensure an easy, enjoyable, bonding walking experience, it's also our goal to help move society forward into a mutually respectful space between dogs and humans — thereby creating a pawsitive cultural shift.

England manages to cram an incredible historical, cultural and natural legacy into a compact geographical space.

In addition to transforming abandoned buildings into vibrant art spaces and cultural hubs, Gates has an experimental blues band called the Black Monks of Mississippi.

San Francisco, Calif., February 14, 2017 — On view at CCA Wattis Institute for Contemporary Arts from March 16 through May 14, 2017, the exhibition Black Light converts the gallery space into a forum for conversation with a series of free public events that address the relationship between cultural institutions and black artists.

As League Curator Jillian Russo explains, «Butler's original idea to bring several independent art organizations into partnership to create a building with dedicated exhibition space transformed the Art Students League from fledgling art school into a cultural institution.»

Her work often provides a portal into a third space [1], one of hybridity, where Crosby intersects her cultural experiences in Nigeria and the West to diminish the limitations of geography.

He uses punchy graphics with shimmering colours to bring the avant garde manifesto into the same cultural and aesthetic space as the advertising slogan, thereby making ideology abstract.

In November 2012, DiverseWorks moved from its previous location to the heart of the newly designated Midtown Cultural Arts District, and in 2015 moved into the new MATCH (Midtown Arts and Theater Center Houston), a multi-tenant facility with multiple performance and gallery spaces.

Jerry Saltz takes it as emblematic of the decline of public spaces for art into private enclaves, and a cultural center in the Hudson Yards still to come could well prove him right.

«A gifted and original scholar, Kellie Jones offers unique and stimulating insights into the role L.A.'s close - knit African American artists and communities played in creating art spaces in museums, cultural centers, and storefronts.

With this in mind, Kang explores how a space can be divided into grids whether with regard to systems of power, cultural customs, or artistic lineage.

Drawing on diverse cultural sources including literature, history, art, music and religion, Khan has developed a unique narrative involving densely layered imagery that inhabits the space between abstraction and figuration and speaks to the themes of history, cumulative experience and the metaphysical collapse of time into single moments.

Specifically inspired by the choreography found in the historical Korean dance «Chunaengmu,» which was performed for royalty and adhered to strict codes of court etiquette, Kang explores how a space can be divided into grids defined by power and cultural customs.

Knight Foundation January 21 - April 8, 2018 - Solo Show The Unavoidable Twilight - AIRIE Nest Gallery - Everglades National Park October 18, 2017 - January 8, 2018 - Solo Show Mythology & Site - Deering Estate - Miami November 19, 2017 - January 5, 2018 - Group Show SIXTH - curated by Jane Hart Bridge Red Studios / Project Space November 30, 2017 - Four Women Show The Reform of Consciousness - curated by Nina Surel Collective 62 October - November 2017 - Artist Residency - Crandon Park September 8 - October 22, 2018 - Group Show Dual Frequency South Florida Cultural Consortium - Art and Culture Center of Hollywood June 28 - Open Studios Fountainhead Studios June - September 2017 - Two of my drawings are featured in the Perez Art Museum's Inside / Out Public Art Program, which brings reproductions of artworks from their collection into Miami neighborhoods.

At each location, red and blue area rugs divide the exhibition space into opposing zones, reflecting America's color - coded political and cultural divide.

McGraw's notable accomplishments at the Bemis Center include working with artist and cultural planner Theaster Gates and Rebuild Foundation to renovate Carver Bank — the site of the first African American - owned bank in Omaha — into exhibition and performance spaces and artist studios, making the site a hub for the creative and public life of its neighborhood and community.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

2018 Diaspora Pavilion Wolverhampton Art Gallery, UK, 10 Feb — 29 April 2018 Presence — A Window into Contemporary Chinese Art The Vaults, St George's Hall, Liverpool, UK, 9 Feb — 2 June 2017 Diaspora Pavilion Palazzo Pisani Santa Marina, Venice, 13 May — 26 November 2017 Sonic Soundings Venice / www.echoes.xyz 1 Sept — 30 November 2015 - 16 1st Asia Biennial & 5th Guangzhou Triennial Guangdong Museum of Art, Guangzhou 2013 The Global Archive Hanmi Gallery, London 2012 Everything Flows De La Warr Pavilion, Bexhill 2012 Blue Crystal Ball Samsung IOC Olympics Media Art Collection, screenings at De La Warr Pavilion, Bexhill 2012 Blue Crystal Ball Samsung IOC Olympics Media Art Collection, exhibition, AND Festival, Holden Gallery, Manchester 2012 March 2012 part of Time Lapse SITE Santa Fe, New Mexico 2011 Fraternise — the Salon Beaconsfield, London 2010 How We Became Metadata University of Westminster Gallery, London 2010 Tables of Thought Academy of Fine Arts, Helsinki, Finland 2009 Hit the Ground Hatton Gallery, Newcastle (Great North Run Cultural Programme) 2008 Artradio exhibition & online station, Cornerhouse, Manchester (featured soundwork) 2006 Cruel / Loving Bodies 2 exhibition, Hong Kong Arts Centre & Goethe Institute 2005 Private View exhibition, Shanghai Duolun MoMA 2005 Lightsilver exhibition, Beaconsfield Contemporary Art, London 2005 Reassurance exhibition, SPACE Triangle, London & Chinese Arts Centre, Manchester 2004 New Nasubi Gallery in «Osawa Tsuyoshi: Answer with Yes and No!»

Funded by cultural producer Gary Wasserman, the project transformed the disused space into a center geared to serve artists, allowing them to share their visions with the local community in a professional venue.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Meanwhile, he transforms forgotten buildings into lively, engaging cultural spaces.

The piece attempts to bring into focus the fact that the surface of cultural negotiation is a contested space.»

In «Elysian Redux», a vast no man's land of 80's design minutia is translated into abstract references that when picked apart contain a gamut of historic, sexual, cultural and socio - economic references, via Ad Minoliti's discombobulating genderqueer abstractions, Dominique Pétrin's discomforting «virtual» spaces, and Leah Guadagnoli's seductive upholstered works.

In this exhibition curated by Modou Dieng, these artists come into conversation with one another, providing a space in which to explore complex systems articulated around design and execution that have been employed in the cultural realization of identities as they continue to emerge in new transcultural and hybrid forms.

I do think that there's something to be gained by actually forcing commercial institutions, or even major cultural institutions that are non-profits but for all intents and purposes they're like multi-nationals (for me the Guggenheim, MoMA, they're like multi-national corporations), I do see a value in making incursions into those spaces.

SAVVY Contemporary is a performative space, and a discursive platform, that turns hospitality into a cultural - political issue.

Through her work, Rodeh tests systems and cultural phenomena by agitating objects, spaces and situations into choreographed, extreme and often humorous performances.

How did something that started off as a simple white box space in SoHo transform into a worldwide cultural platform?

At each museum, a nearly empty area will be set off using only red and blue area rugs, which will divide the exhibition space into what the artist describes as opposing zones, «reflecting America's color - coded political and cultural divide.»

His art gradually cast off individual identity as his creations entered into a more sweeping perspective that revealed a cultural exploration of the notions of space and time.

Published by Koenig Books, the Reader brings a diverse range of cultural figures into a shared cultural space, including Hugo Ball, W.E.B. Du Bois, Stokely Carmichael, Joan Retallack, and Gertrude Stein, as well as artists from different generations, such as Joan Jonas and William Pope.L.

Ideology., Hammer Museum, Los Angeles Polypersephone: Nayland Blake & Claire Pentecost, Iceberg Projects, Chicago 2013 NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York A Different Kind of Order: The ICP Triennial, Institute of Contemporary Photography, New York Nayland Blake, Thomas Demand, Trisha Donnelly, Vincent Fecteau & Wade Guyton, Matthew Marks Gallery, Los Angeles Macho Man, Tell It To My Heart: Collected by Julie Ault, Artists Space, New York 2012 The Bearden Project, The Studio Museum, New York Shift: Projects Perspectives Directions, The Studio Museum, New York R.P.F.P. (RIRE.POSITIONNER.FILMER.PERFORMER), École Européenne Supérieure D'Art de Bretagne as part of the festival Transversales Cinématographiques, L'Université Rennes 2, France 2011 Legacy: The Emily Fisher Landau Collection, Whitney Museum of American Art, New York Carter / Nayland Blake, Gallery Paule Anglim, San Francisco The Air We Breathe, San Francisco Museum of Modern Art 2010 Selections from the Hammer Contemporary Collection, Armand Hammer Museum of Art and Cultural Center, Los Angeles Owen Smith and Nayland Blake: Two One - Person Shows, Richard L. Nelson Gallery, University of California, Davis 2009 Consider the Lobster, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Contemporary Outlook: Seeing Songs, Museum of Fine Arts, Boston 2008 The Puppet Show, Institute of Contemporary Art, Philadelphia 2006 Into Me / Out of Me, MoMA PS1, New York.

In this spirit of cultural thievery, the artist reconfigures everyday impulses into new forms of material space.

Ward, who transforms discarded or familiar materials into formal innovations that address society's most urgent questions, underscores the Park's mission of integrating contemporary art into daily life and as a space for cultural exchange and transformation.

The L.A. - based artist and cultural critic has transformed the gallery space at the museum into an arcade that picks apart global capitalism.

He designed a bar in the shape of a gargantuan belly - down heron surrounded by cracked egg furniture which spans the length of the 32nd floor Nante's panoramic Tour Bretagne as part of a city initiative to revitalize neglected urban spaces into cultural hubs.

Through her work, Alona Rodeh examines cultural phenomenon through the agitation of objects, spaces and situations, which she develops into choreographed architectural performances, installations and images.

Gates saved the historic bank from demolition and has transformed the building into a community and cultural center that houses various archives and features exhibition space.

Depending on the cultural context and the generation these artists belong to, the issue of Home is treated differently by each one: be it through a space both mnemonic and futuristic, woven in networks by Maria Helena Vieira da Silva; the putting of space into a trance through geometries by Louise Nevelson; the vibrating outlines of Vera Pagava; the cement sculptures of Claude de Soria; the full Japanizing nature of Yamamoto Wakako; the space grasped as a Unique line of Abstraction by Fabienne Verdier; the maps, trips and sensations of Zarina Hashmi; or the framework of copper harmonies of Antonella Zazzera.

Ancalmo never refers openly to Robert Smithson (1938 - 1973), but his project of importing park matter and memories into a gallery recalls the «non-sites» - containers of mineral matter from carefully mapped locations - that Smithson used to awaken gallery goers to differences between cultural and terrestrial space.

Responding to the exhibition space, the work focuses on the Fondazione's symbolic value as an abandoned industrial building converted into a cultural venue.

The Serpentine's new space, the Serpentine Sackler Gallery, located nearby in Kensington Gardens, will bring a unique, listed building into public use for the first time in its 206 - year history, providing a new cultural destination and landmark for London.

With special events, talks or simply an opportunity to explore the gallery spaces, The Tetley is the perfect place to meet up with friends and turn your Wednesday evening into a cultural date night.

(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future Contemporary Art in Context, Museum of Contemporary Art, Chicago Awards in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life: Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.