MassArt welcomed artist Winfred Rembert for the 2014 Master Print Series, an artist in residency project during which, an established artist transforms an idea
into physical artwork, and invites students to collaborate in the art - making process.
MassArt welcomed artist Alison Elizabeth Taylor for the 2016 Master Print Series, an artist in residency project during which, an established artist transforms an idea
into physical artwork, and invites students to collaborate in the art - making process.
MassArt welcomed artist John Walker for the 2017 Master Print Series, an artist in residency project during which, an established artist transforms an idea
into physical artwork, and invites students to collaborate in the art - making process.
Not exact matches
The so - called expansion of course is
into sculptural and installation - type manifestations of painting, where the space of the viewer is often encroached upon by
physical elements in the
artwork.
Two artists gamely working together, neither of them physically touching the surface of the
artwork, resulted in a razor - sharp commentary on the popular construction of the artist as individual genius willing masterworks
into existence through
physical and psychological exertion.
Likewise, the virtually rendered work of Snow Yunxue Fu thrives to guide the viewers
into a metaphorical higher dimensional world, where the
artwork becomes necessary
physical symbols for the viewer's
physical perception in relation to the greater reality.
Rather than tracing the lines and shapes directly onto the canvas itself, he turns them
into physical components of the
artwork.
He toys with the idea of the
physical self being one with architecture and the surrounding space and brings sexuality
into his
artwork through the blurring of these lines.
From his early works in the 1990s, such as the «illusory» optical machine Beauty (1993), to the architectural project developed together with Henning Larsen Architects (Reykjavik Concert Hall, 2005 - 2011), to his recent «total
artworks» like Seu corpo da obra (2011) and installations like Big Bang Fountain (2015), Eliasson always expresses his fascination with the world of perceptions, sometimes
physical, sometimes immaterial — but always transforming passive visitors
into «inhabitants», as well as with the hybridization of different languages, means of expression and temporal planes.
Inspired by an observation by Michael Faraday (in a course of six lectures on the Chemical History of a Candle) in David Deutsch's book The Fabric of Reality that «there is no more open door by which you can enter
into a study of natural philosophy than [by] considering the
physical phenomena of a candle», Parreno's goal for the exhibition was to use its methods of display and
artworks to explore the idea of light as an entity — one which alters what we see, and camouflages what we can not.
Conceived by the artist as an
artwork, the elegant volume of archive photographs that capture Iceland's diverse landscape is an investigation
into our relationship with nature and the
physical space in which we exist.
His work focuses on the context in which
artworks are produced and exhibited, and the
physical and conceptual tools that go
into creating them: the studio, art gallery, painter's materials, and historical and theoretical reference works.
Read the full article for insight
into the unique, elaborate
physical processes by which Smith creates her
artwork.
Kano presents
artwork that stimulates the optical senses of the viewer by incorporating «tricks»
into surface layers of
physical matter.