Sentences with phrase «media artists into»

The exhibition includes several of the gallery's long - standing artists — Christian Haub, Matthew Kluber and Matthew Penkala while introducing several New Media artists into the mix — C. Alex Clark, Anne Farrell, Noah Klersfeld and Chase Stafford.

With national offices in Los Angeles and New York, and local offices nationwide, SAG - AFTRA members work together to secure the strongest protections for media artists into the 21st century and beyond.

Not exact matches

Mixed media artists such as Edwina Bridgeman and Kirsty Elson transform flotsam and jetsam into wondrous creations, and I love looking at the work of many many artists both contemporary and classic, including John Caple, Elaine Pamphilon, Cathy Cullis to name just a few.

The result is a user - friendly searchable database of programs, events, workshops and services — an information storehouse where female media artists can tap into resources and opportunities.

While cinematographers and film music composers may sometimes find themselves featured in the media more than many of their crafts artist colleagues, the one «tech» discipline awarded by the Academy that often brings people into the movie theaters on its own is visual effects.

Learn how to rephrase the performance objectives of college and career ready standards for the visual, performing, and media arts into good questions that will engage students to create, perform, respond to, and connect works presented in various formats and mediums, by various artists, in different contexts, and from different cultures.

1 Writer / artist: Lily Hoshino Kodansha Comics; $ 12.99 For ages 13 + Manga has become such a pervasive presence in the North American comics market over the last few decades that readers can easily become inured to the sorts of weirdness that our cousins in Japan can somehow shape into long, popular, mass - media narratives.

I guess the challenge comes with having to learn everything needed to develop your presence: build a website, foster a following via social media, find the right cover artist and editor, turn a manuscript into an ebook file.

TIFF wanted to continue expanding its mandate into the world of video games, so joined by the Hand Eye Society, they together applied for funding with The Ontario Media Development Corporation, known for its generous support of local artists.

Stay tuned for the next installment of Galleries and Social Media, where Cory will delve deeper into how galleries can help artists in the digital age!

Dang it's hard not to get sucked into all the noise, but unless we unplug, when do we actually do our art?In the creativity class I'm co-teaching with my partner, Kelly, just today we were talking about the concept of going on a «media fast,» which Julia Cameron uses as an assignment in her ground - breaking book The Artist's Way.

There are a lot of artists who are selling their art online for free, without paying a management fee or doing other things, but they have more than paid for it in other ways: sleepless nights spent working on their Web site, hours spent learning how to upload high resolution images, use social media to gain a following, and write effective copy so that your visitors turn into buyers.

Nigerian - born, U.S. - based artist Njideka Akunyili explores the dynamics of her culture and community through mixed - media art, melding limitless combinations of acrylic, charcoal, pastel, marble dust, colored pencils, oil, fabric or Xerox transfers into figurative collages with distinct narratives.

«The Influentials» is both an investigation into the creative lineage between contemporary artists and a dialogue between mentors and mentees that crosses generations, gender and media.

Some of the artists mine popular culture to produce scathing or defamatory indictments of consumer mores; others take the moral corruptions of public and political acts as their defamed subject; and others practice détournement — using elements of well - known media to create new work with a different or opposing message — to elevate injury and injustice into the realm of high art.

Both artists experiment with mixed media and incorporate performance into their practice — ranging from totemic found objects and photography to experimental blues music.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Taught by artist Allyson Vieira and inspired by the architecture and design in the exhibition Pierre Chareau: Modern Architecture and Design, translate Chareau's modern vision of integrated spatial and decorative forms into mixed media works.

This conversation explores how voice, gesture, and choreography figure into these three artists» practices via a diverse range of media including video, collage, sculpture and photography.

Brought together by artist Dan Graham and independent curator Sylvia Chivaratanond, the works in Deep Comedy transform elements of the commonplace into playgrounds for amusement through a wide range of media including sculpture, video, installation, photography, and performance.

He went on to develop a formal language all of his own, while concerned with the media and consumerism, also calls into question the role of the artist vis - à - vis specific societal and economic conditions.

, now at the Pump House Gallery in Battersea Park, London, is a touring exhibition involving five artists, Dorothy Caldwell, Saidhbhín Gibson, Celia Pym, Freddie Robbins and Karina Thompson, each of whom brings their own approach to an investigation into damage and repair, disease and medicine, and the healing and restoration of landscapes, bodies, minds and objects through stitch and other media.

We present a special interview with Michael Najjar, the first artist to fly into space, the scientific - artistic mission at The Institute of Critical Zoologists in Japan, and carry an extensive interview with Peter Weibel, director at the ZKM / Center for Art and Media Karlsruhe, Germany.

Many of the artists working in this era were less interested in marketing and branding itself, but instead how advancements in media and communications propelled brands into full - blown lifestyles, which is precisely how many companies employ social media marketing to make their billions now — by selling consumers an idea rather than just a product.

But there was some idea that starting one in that moment where all things alternative were being rapidly absorbed — alternative music, independent film, media, et cetera — that the activities of Thread Waxing Space reflected that it was trying to be the Knitting Factory and Artists Space and all these things rolled into one, because there was a very ambitious music and performance program.

In the 1950s neo-avant-garde artists like Robert Rauschenberg and Jasper Johns created assemblages that brought collage techniques into three dimensions — laying the groundwork for much contemporary sculpture — as well as works on paper that incorporated found elements drawn from the mass media and everyday life.

Of course, many painters, sculptors and mixed - media artists are printmakers in their own right, but several artists have embraced prints into the core of their practice in different ways: collecting or curating shows; adopting imagery from them and translating it into different media; even directly reworking historic prints.

By mixing images found in electronic or print media with imagined subjects, or by performing types of painting (like gestural abstraction or photo - projection) as self - collaboration, the artist sets up dialogs with others into his process.

While the Japanese artist is best known for orchestrating digital LED counters into richly varied arrangements — strewn across the floor, installed in geometric patterns on walls, even placed on little robotic cars — the works in his recent installation «Totality of Life» span a wider range of media and incorporate a certain humanist dimension that his earlier installations lacked.

PRISM index is a limited edition, handmade, mixed - media art book that compiles the work of a wide spectrum of artists into one place.

Using the potential of the most modern media technology, these artists give visual form to philosophical questions, which involves dividing time up into small sections and holding it up as if in a loop, by continual repetition of the same process.

While her work was being shown in an increasing number of group and solo exhibitions in the 1960s, Asawa continued to grow as an artist, branching out into different media.

The Visiting Artist Program Committee will then match as many finalists as possible to spaces available, taking into account the applicant's requirements, attributes of the specific studios available, and the goal of providing a range of media experiences to our visiting public.

Many pioneer artists of the period, like Robert Irwin and Larry Bell, began as painters, but later transitioned into more complex media and environmental installations; DeFrance stayed largely committed to examining the phenomenology of painting throughout his career.

A leading performance artist, Tania Bruguera (MFA 2001) researches relationships between art and politics, specifically transformations of social affect into political effectiveness and institutional structures of collective memory, education, and politics, and some of her performances interrogate the Cuban Revolution's failed promises and evoke the realities masked by propaganda and mass - media interpretation.

Looking back at Hershman Leeson's career now, the pieces to the puzzle easily fall into place — the artist was on the vanguard of both burgeoning feminist and new - media art movements during the 1960s and 70s, with a concerted interest in the cyborg that unites these fronts.

Coen and Kahn's presence in Mexico is a reminder of the magnetism of the country for leftist artists in the 1930s, drawn into the orbit of the «Big Three» (Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco) and excited by the aesthetic and political possibilities of mural painting and print media.

John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses on the artist's dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist's media - savvy black - and - white painted images: «Gestures go viral, escaping one painting and contaminating another.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Both artists have previously worked only with the still image and this represents their first movement beyond this into the field of time based media.

Encompassing a diverse range of media — from drawing and painting to collage and beyond — works on paper can offer a glimpse into the artist's creative process.

This will be the London - based artist's first New York solo exhibition, offering a view into to a fertile imagination that transitions effortlessly between the formal demands of different media.

Renowned for her support of artists» projects in both fiber - based and new media, as well as for bringing international artists into our midst, Kippy was a boon to Philadelphia.

Portland - based artist Jessica Jackson Hutchins specializes in mixed - media sculpture — transforming household objects into creations that speak to the chaos of domestic life.

This all - media show has drawn artists from around the country and is guaranteed to intrigue, packing a large bang into small packages.

Standby Executive Director Maria Venuto and Seery expanded into the field of media preservation, with the aim of conserving the works of many artists and the cultural history of organizations like ACTUP Oral History Project, Appalshop, Experimental Television Center, Franklin Furnace, La Mama, Martha Graham Center, and Paper Tiger Television.

The selections featured in Prime Time: Second Annual New Media Juried Exhibition represent just a sampling of the broad variety of works that fall into this category of contemporary art, as well as highlight the emerging talent of regional artists working in this medium.

The Brooklyn - based artist (who also recently showed a piece in loft - gallery Club 157's first group show) will transform Shin Gallery into a «veritable beach playground» filled with his colorful mixed media works on paper.

Los Angeles - based mixed media artist Walead Beshty explores physical and mental stages of creative thinking in his expansive body of work, delving into intricacies of bearing works of art under rapid technological improvements.

Mass Recording (To Be Read From Right to Left) is a recent photographic work by Erik Blinderman that continues the artist's inquiry into the intersection of representation, media, and politics in contemporary life where an increasing number of individuals have the means to record, manipulate, and circulate information.