Sentences with phrase «media artists such»

Artists, public school teachers, art therapists, performance artists, graphic designers, architects and students from New York City, join in the grand tradition of mixed media artists such as Robert Rauschenberg and Louise Nevelson.

She sees a female body as eternally present, while new - media artists such as Christina McPhee or Shirin Neshat see it as absent or at risk.

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.

Not exact matches

New York - based designers Workshop / APD have brought this intriguing vibe to life with the use of natural materials such as weathered brick, oiled steel, and worn concrete, creating a unique 160 - seat dining room joined by a large shipping container set in the middle of the space adorned with hand - painted graffiti - and media - inspired designs by Brooklyn - based artist, Mr. Ewok One.

The New York State Writers Institute's fall schedule will include everything from the rap artist and actress known as Awkwafina to the multi-day symposium «Telling the Truth in a Post-Truth World,» featuring top names in the news media discussing topics such as the rise of «fake news» and cybersecurity.

A statement made available to the Nigeria Politics Online showed that an A — list artists and media gurus such as Mo Abudu, Omoni Oboli, Eyinnaya Osigwe, Lala Akindoju, Noble Igwe; female African footballer of the year Asisat Oshoala and a host of others were also on ground to showcase Africa's excellence dressed in their African finery as Kings and Queens.

As such, it poses all sorts of questions about the intersection of art, celebrity and psychological disturbance in our media culture, but it also gives us Laura Albert as a shape - shifting artist of astonishing talent, resourcefulness and originality.

Many internationally known artists and media companies such as Los Lobos, Michael Gettel, Private Music, Narada Media, Microsoft, Valve Software, Starwave Corporation, Cavedog Entertainment, Humongous Entertainment and countless others have included our unique sound elements in their prodmedia companies such as Los Lobos, Michael Gettel, Private Music, Narada Media, Microsoft, Valve Software, Starwave Corporation, Cavedog Entertainment, Humongous Entertainment and countless others have included our unique sound elements in their prodMedia, Microsoft, Valve Software, Starwave Corporation, Cavedog Entertainment, Humongous Entertainment and countless others have included our unique sound elements in their products.

Much new media is available free online on virtual platforms from the personal websites of visual artists to a plethora of sites (such as Vimeo) that offer online viewing communities for lovers of art films, new digital media, and experimental filmmaking.

Skills focus on drawing, printmaking and mixed media, linked to artists such as Rankin and Angie Hoffmeister.

Students engaged with it really well, with a variety of painting, printmaking and mixed media work linking to artists such as Ian Murphy and Paul Kenton.

Infinite button: Tapping it within the media player enables consumers to have instant access to new content about their favorite artist, such as music videos, artist information and lyrics search.

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.

As a media artist and game creator, Ida has worked with internationally recognised artists and artist groups such as Evan Roth (US), Blast Theory (UK) and Translocal (FI), she has been involved in game projects across Europe and had a residency at Pony Ride, Detroit.

Now I read that even if a piece is sold, the artist: 1) Isn't informed about shipping addresses; 2) Isn't assured that they have or will be paid; 3) Is responsible for paying the buyer's sales tax bill; 4) Presumably is required to forward sales tax funds to the buyer's state department of revenue; 5) Has money / time invested in shipping a parcel to a potential buyer who may or may not return the art a week later (like a toaster oven); 6) Has language like the following within their user agreement: royalty - free, sub-licensable through multiple tiers, perpetual, irrevocable, worldwide right and license to use, reproduce, distribute, modify, translate, create derivative works from, publish, publicly perform and publicly display such User Content and any names, likenesses or trademarks depicted in such User Content, in any media now known or later developed, only for the purposes of developing, promoting and providing the Site.»

Earlier this year «System and Vision» at David Zwirner, in cooperation with Berlin's Galerie Susanne Zander, examined the obsessive work of vernacular artists such as Morton Bartlett, a doll maker who photographed his creepy creations; Prophet Royal Robertson, an artist of brimstone - burnt apocalyptic fervor; and George Widener, a living artist whose mixed - media pieces entail complex mathematical and calendrical calculations.

Artists such as Manfred Mohr, Vera Molnar, Frieder Nake and Stan VanDerBeek adopted computer programmes to create abstract and geometrical works while Roy Ascott, Allan Kaprow, Gary Hill and Nam June Paik used various new media to connect across multiple sites globally.

An all female exhibition showcases artists working with traditional craft media such as ceramics, yarn, clay or wood in current and contemporary ways.

In this sense, her work is more aligned with artists who prioritized sensorial experience, like James Turrell, Mary Corse, and others of the Light and Space movement of the 1960s, than with film or other such time / media - based art.

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

Many artists have taken a «provisional» stance, while others are producing highly finished work that so blurs the line between two and three - dimensional practice that categories of media such as painting and sculpture become all but useless.

Across the street is Stephan Stoyanov, whose gallery has a healthy new media, video and film programme with artists such as Shannon Plumb and Heather Bennett.

He is a mixed media artist and describes his work as metaphorical and based upon such issues as identity, sexuality, health, and love.

Drawing upon a rich legacy of conceptual and minimal artists experimenting with the sublime properties of space and light, Hodges plays with light, reflection, and perception...... Hodges» approach to capturing experience through such diverse media as collage, light, and reflection makes sense considering the variety of elements that form experience.»

In the wake of the 2016 presidential election, where news media was deemed the «the enemy of the people,» and The New York Times directly attacked and labeled as «fake news,» FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O'Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice.

The New York gallery's program focuses on artists of the late 20th century whose work explores concepts such as representation, authorship, identity, and sexual politics across a wide - range of media.

The 177 lot sale will comprise works, in a range of media, by leading Post-War and Contemporary artists, such as Jean - Michel Basquiat, Anish Kapoor, Andy Warhol, Chris Ofili, Damien Hirst, Gerhard Richter, Frank Auerbach, Antony Gormley, Farhad Moshiri and Yan Pei - Ming.

The gift to the Rose includes video, photography, painting, prints, sculpture, and mixed media works by artists such as Doug Aitken, Nicole Eisenman, Omer Fast, Robert Gober, Mike Kelley, Jean Shin, Kara Walker, and Christopher Wool, among others.

Her media have included books, feathers, metal, concrete, and even repurposed work made by other artists, such as Bruce Connor.

Night Vision: Nocturnes in American Art explores the critical importance of nocturnal imagery in the development of modern art by bringing together 90 works in a range of media — including paintings, prints, drawings, photographs, and sculptures — created by such leading American artists as Ansel Adams, Charles Burchfield, Winslow Homer, Lee Krasner, Georgia O'Keeffe, Albert Ryder, John Sloan, Edward Steichen, and Andrew Wyeth, among others.

Artists in the exhibition will include 1980s pop icons from the collection, such as Kenny Scharf and Jean - Michel Basquiat, alongside artists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Thornton Dial, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue WiArtists in the exhibition will include 1980s pop icons from the collection, such as Kenny Scharf and Jean - Michel Basquiat, alongside artists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Thornton Dial, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue Wiartists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Thornton Dial, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue Williams.

Robin Cameron (b. 1981, British Columbia, Canada) is an artist based in New York City who works in a wide range of media such as ceramics, brass sculptures, films, drawings, cyanotypes and printmaking.

Each student's learning plan includes a menu of skills classes in different art media, theories of public practice, and internships with artists such as Mario Ybarra and Kim Abeles.

LeWitt, Nevelson, Pendleton extends Pace's ongoing series of group exhibitions that initiate conversations between artists working across time periods, geography, and media, following such significant exhibitions as Blackness in Abstraction (2016), Sol LeWitt and Zhang Xiaogang (2016), Alfred Jensen / Sol LeWitt: Systems and Transformation (2012), Light, Time and Three Dimensions (2007), Dubuffet and Basquiat: Personal Histories (2006); and Grids: Format and Image in 20th - Century Art (1979).

A member of the so - called Pictures Generation of artists that emerged in the 1980s, known for their appropriation of mass media imagery, the work of Richard Prince has consistently grappled with such issues as authorship, reproduction, and context.

Such high profile projects allow Dovecot to defend its place in a world that puts an ever - growing selection of new tools and media at artists» disposal.

Including Pilar Albarracin, Karen Finley, Pearl C. Hsiung, Glenn Kaino, Mike Kelley, Martin Kersels, Daniel Joseph Martinez, Rodney McMillian, and Robin Rhode, these artists reference subjects such as war and terror, social and racial tension, urban and environmental disaster, psychological break - down, and criminal behavior in a range of mixed media and video installations.

The exhibition will showcase the mixed - media art of Thornton Dial (1928 - 2016); quilts made by artists such as Lucy Mingo, Annie Mae Young (1928 - 2004) and Loretta Pettway; and other work from artists such as Lonnie Holley, Ronald Lockett (1965 - 1988) and Nellie Mae Rowe (1900 - 1982).

Any Given Sunday showcases a small group of artists who call attention to sports related imagery as a way to explore cultural topics such as the mass media, celebrity, race, and gender.

Spanning a broad gamut of themes and applied constructs, the show includes such as early works as shots taken in Nadar's 19th century Parisian studio, of the mime artist Charles Deburau posing as Pierrot the clown (an example of a performance played out purely for the camera); through the theatrical and conceptual work of Carolee Schneemann and Paul McCarthy; nuanced developments of self - identity in the work of Marcel Duchamp, Cindy Sherman and Andy Warhol; and onto the hyper - contemporary world of selfies and social - media disseminated flotsam.

Artists in the exhibition include 1980s pop icons from the collection, such as Kenny Scharf and Jean - Michel Basquiat, alongside artists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue WiArtists in the exhibition include 1980s pop icons from the collection, such as Kenny Scharf and Jean - Michel Basquiat, alongside artists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue Wiartists whose work has been influenced by pop, politics and media, such as Nina Chanel Abney, Katherine Bernhardt, Lizzi Bougatsos, Joe Bradley, Sarah Braman, William N. Copley, Wally Hedrick, Joyce Pensato, Carol Rama, Peter Saul, Josh Smith, Spencer Sweeney, Henry Taylor and Sue Williams.

Six artists of color use performance, photography, textiles, and more to take on stories such as modern - day gentrification in Bed - Stuy, traced through an amateur kung fu film found at the former home of a theater frequented by Reverend Al Sharpton; the Syrian refugee crisis and conflict, mixing media coverage and first - person accounts; and the actual Revolutionary War's 1776 Battle of Brooklyn, conducted by a woman of color.

The exhibition will feature paintings, mixed media sculptures, and interactive installations by 50 of the most dynamic artists and will emphasize Los Angeles's role in the evolution of graffiti and street art, with special sections dedicated to seminal local movements such as cholo graffiti and Dogtown skateboard culture.

Mostly paintings and drawings are featured, along with some photography, mixed - media works and sculpture by artists active in the early, middle and late periods of the century, and many contemporary figures still working today such as Hurvin Anderson, Stan Douglas, Kori Newkirk, Lorna Simpson, Mickalene Thomas and Barkley L. Hendricks (whose «New Orleans Niggah,» 1973 covers the volume).

In the fall of 2011, the Museum invited submissions from North Carolina artists working with screen - based, new media art work, such as video art, experimental animation and time - based media, to be featured in the inaugural exhibition of the New Media Gallery, a key component of Art works PRIMED, the Museum's interim expansion promedia art work, such as video art, experimental animation and time - based media, to be featured in the inaugural exhibition of the New Media Gallery, a key component of Art works PRIMED, the Museum's interim expansion promedia, to be featured in the inaugural exhibition of the New Media Gallery, a key component of Art works PRIMED, the Museum's interim expansion proMedia Gallery, a key component of Art works PRIMED, the Museum's interim expansion project.

In the accompanying exhibition text, Crimp recognized the influence of photo - conceptualists such as John Baldessari, suggesting that these younger artists were taking peripheral aspects of that practice and bringing them to the fore to create a new kind of representation that resonated with the media - obsessed age that privileged the processes of quotation, excerption, framing and staging.

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.

The collection includes works by artists associated with the loosely knit group known as the «Pictures Generation,» such as Cindy Sherman and John Baldessari, who appropriated images from the mainstream media, as well as several members of the Düsseldorf school of photography.

Informed by the international history of video art, the program traces the development of the medium in Israel and explores how artists have employed technology and material to examine the sociopolitical status quo, through themes such as the prominence of political conflict in mass media; the liberalization of the economy; and the impact of free market politics on Israeli culture.

In addition to paintings, drawings, and mixed - media works by acclaimed artists such as Thornton Dial, Lonnie Holley, and Nellie Mae Rowe, the major gift included 20 important quilts dating from the 1930s to 2003 that were created by women artists based in the area around Gee's Bend, Alabama.