Sentences with phrase «media installation which»

McNamara deftly presents his chaotic vision through a mixed media installation which serves as an ongoing performance within the gallery.

However, we have media installations which look to engage with the virtual world on a level which has not been explored so intensely to date, Leckey can only continue to grow as an artist and bring more to Liverpool, London, the UK and the international Art World.

Not exact matches

FAST ® consists of tankage packed with completely submerged media which creates a high surface area - to - volume ratio, which, combined with internal settling zones, maintains constant bacterial growth during low - flow and peak usage periods typical of many remote installations.

We work in a variety of media covering illustration, graphic design, identities, packaging, animation, installations, 3D design and set / prop design, as well as recently starting the Studio Binky Shop, which is our own range of products including cards, prints and colouring books.

The two starting points to the intrigue are an in - house debate around a new art installation, a luminous square, in search of a media gimmick to augment the museum's inclusive profile (and please donors) and a more personal one that involves a street scam, which sees Christian's wallet and phone... plus his heirloom cufflinks, stolen through an impressively contrived drama that could even be considered street art for its ingenious execution.

For starters, the installation went smoothly, and I've had a steady signal ever since (aside from the occasional Media Center hiccup, which I'll get to in a minute).

The enhancements are a collaboration between SpringHill Suites, Oakland International, and SecurityPoint Media, which as created similar installations at Chicago O'Hare, Dallas Ft Worth and Charlotte Douglas airports.

Mark Beasley, the Robert and Arlene Kogod Secretarial Scholar and Curator of Media and Performance Art, has programmed the Washington, D.C., debuts of five video installations from recent biennials, which are to be experienced in the following sequence: Camille Henrot's Grosse Fatigue (2013), a transcendent and lyrical multilayered rumination on the creation and organization of the universe, conceived during a residency at the Smithsonian; Hito Steyerl's How Not to Be Seen: A Fucking Didactic Educational.

His work spans a range of media including photography, painting, sculpture, installation and use of the ready - made to create assemblages from everyday found objects such as books, ceramics, TV sets and other house - hold goods and paraphernalia, which Liu Wei transforms into sculptural objects and installations of eloquent complexity.

In P.S. 1's third floor hallway, Jonathan Hartshorn presents the mixed media installation, When Skies Are Grey (2007), which includes drawings and found objects like the artist's family photographs, a map of the United States, an imitation wood clock, and a note from his father.

Paintings, sculpture, mixed media works and installations dominate the exhibition, which also includes some of the period's most compelling photography.

The photographs they are contributing to this show are derived from a mixed media installation that takes Sigmund Freud's residence and antiquity collection, which saw different kinds of violences in the aftermath of Freud's exile, as its point of departure.

Architect David Adjaye serves as the lead designer for the museum which will include an important collection of visual art — paintings, sculpture, works on paper, installations, photography, and digital media — by and about African Americans.

The Institute of Contemporary Art, London is now hosting Woodman's first solo show in the UK, which features her recent forays into painting and mixed - media installations — evidence that even at 85, she is still searching for new ways to express herself.

Following that is the very popular and much anticipated annual group exhibition «The Summer Show,» which opens June 17 and features more than 40 works in various media — including painting, sculpture, works on paper, photography, video and installation — by gallery and guest artists.

Despite a career of more than seven decades, which encompassed an extraordinary output of work in all media — painting, drawing, printmaking, sculpture and installation — Louise Bourgeois (1911 - 2010) is irrevocably associated with one particular form: the spiders, often enormous, that she sculpted throughout the 1990s.

The installational painting practices that combine various media comprise a total spatial installation, in which many well - known artists participate.

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.

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.

Bruce Nauman: Theaters of Experience is a focused selection of works in a range of media, including sculpture, video, holograms, neon and architectural installations, which examine the artist's use of performance devices as a conduit for heightened self - awareness for both artist and audience.

Working as an independent curator has allowed me to expand even further beyond the object to include other media, which I included in Back to Eden with Zurkow's animation and Capone's video installation.

Mining her own experiences of visiting her father in prisons for the past 19 years, Smith will present a combined media installation involving video, neon, photographic and textual works to visualize the ways in which an impersonal bureaucratic system of incarceration take effects on the bodies and minds of the extended network of people bound to it.

The London - based artist — who works with a variety of media, including video, performance and installation — will be the recipient of six - month residency in Italy, during which she will create new work for a solo exhibition to be presented at the Whitechapel and the Collezione Maramotti.

January 12 — March 1, 2008 Jac Leirner creates installations, sculptures, and mixed media pieces using everyday objects like business cards, plastic bags, cigarette packs and banknotes, which are meant to live in transit; they circulate within our society with their final purpose to be destroyed and taken out of circulation.

For the 2003 Venice Biennale, Wilson created a mixed - media installation of many parts — focusing on Africans in Venice and issues and representations of blacks and whites — which included a suite of black glass sculptures; a black - and - white tiled room, with wall graffiti culled from texts of African - American slave narratives; and a video installation of «Othello,» screened backwards.

This inspiration is seen in Fleming's artistic research and development — a hybrid output of his contemplative programming, media art, installation, and filmmaking practices in which he structures his work to elicit a selective attention towards witnessing and mutating the self - other dichotomy.

Creative Reuse in New York City features five large - scale mixed media installations and six smaller sculptures which explore creative reuse in New York City.

Her work focuses on media images and text, which she manipulates through photography and video, and combines in her drawings and installations.

For No borders in a wok that can't be crossed, Marten has created a group of works which interweave the diversity of her work in terms of media — from sculptures to wall pieces and floor works — in a comprehensive installation including many new works created specifically for the CCS Bard exhibition.

A Real Pony Race for a Bridle is a mixed media installation exhibited as part of the group exhibition Summer Collection» 97, for which artists were invited to respond to artefacts housed in the gallery's permanent collection.

Los Angeles - based artist Pae White merges art, design, craft and architecture through site - specific installations and individual works which defy our expectations of a variety of techniques and media.

A certain reminisces of Minimal Art and Post Object art is notable, yet this selection, which ranges in media spanning from video, performance, sculpture, photography, painting to installations, reflects an apparent interest of the curator in conceptual and formal approaches of the artwork itself.

Displayed at different gallery branches, Man Fung Yi's brass replicas of personal garments and William Tsang's rather straightforward installation, in which anonymous photographers in a mixed - media relief are spying on a nude woman, depicted in charcoal on paper on an opposite wall, contemplate voyeurism and the boundary between self and other.

His work embraces moving image, sound and other media to create immersive audio - visual installations and performances which emerge from his long - standing investigation of the voice as a sculptural material and a socio - political agent.

The collection also includes central works from her photographic series of urban spaces, her poster paintings and rubbish bins, as well as elements from larger installations, which shows how Kagge concentrates on collecting across time, formats, media and thematic structures.

Fantastic images of warriors and staged historical battles are invaded by irrepressible color and pop - images from electronic media in the former Core Fellow's paintings, sculpture, digital collage, video, and installations, which express his «concern with romanticized and sterilized representations that occur with the westernization, commercialization, and imposition of entertainment value upon history.»

Featured in this exhibition, Untitled 2005 (The Air Between the Chain - Link Fence and the Broken Bicycle Wheel) was an installation in which the artist addressed governmental control of popular media by installing a low - tech pirate television station within the museum, using a simple metal antenna and cables as broadcasting equipment, accompanied by a small wooden structure housing a television set and chairs.

«3 - Dimensional» Art is acceptable in this competition and is open to the following media: relief, pottery, sculpture, installation, kinetic, and conceptual 3 - D artworks created in metal, paper, wood, stone, fiber, plastics, glass, ceramics, or any other material which can be used to create 3 - dimensional art.

Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being — her subversive masculine alter - ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art.

Trained as a painter, he went on to experiment with a variety of media, which culminated in his first installation in 1996 entitled ’29 Mornings».

Her artistic research moves from the basics of photographic technique, and develops through various media taking different forms according to the places or the stories in which it develops; from b / w photographic printing to site - specific installation, from video to drawing.

Working across a broad range of media including sculpture, drawings, photographs, films and installations, veteran American artist Kiki Smith is best known for her symbolic depictions of the human form through which she explores ideas from natural science through to cosmology and mythology.

Spanning exhibitions, publications, films, new media, and site - specific installations, funded projects include «Incense Sweaters & Ice,» an immersive installation by Los Angeles - based artist Martine Syms; «Bond: Race and the Modern City,» which is described as the first book - length study of the architect J. Max Bond Jr. (at right, on far left); «Sacred Stoops: Typological Studies of Black Congregational Spaces,» an investigation of the porch and its role in the African American community; and research exploring «emerging paradigms» in architectural education across sub-Saharan Africa.

These bizarre materials, along with more conventional artistic media, were all mixed in the cauldron of an alchemical mind to produce works — paintings, drawings and photographs, collages, sculptures, performances and film installations — which play with styles that range from abstract expressionism through pop to conceptualism.

Trained in sculpture at Parsons School of Design (BFA), Tyler School of Art (MFA), and at the Skowhegan School of Painting and Sculpture, Hilary Harp creates sculptures, installations and media projects which explore new hybrid forms, and challenge categories, particularly categories of high and low, male and female, technology and craft.

This is evident in the popularity of sculptural works and installations in the exhibition, many of which incorporate audio or video narrations: as if sculpture is no longer enough on its own, or simply in celebration of augmenting static form with aural and visual media.

, the expansion comes at a time when the institution is undertaking larger and more innovative projects, which often veer toward site - specific installations and immersive new media productions.

Best known as a sculptor, Long uses a variety of media in his work which includes photography, drawing, painting, print making, installation, and personal performance.

According to Irene Hofmann, director and chief curator of SITE Santa Fe, the expansion comes at a time when the institution is undertaking larger and more innovative projects, which often veer toward site - specific installations and immersive new media productions.

The exhibition opens to the press on June 4, and, unlike recent incarnations which cleaved toward video and installation projects, 53 will embrace traditional media such as painting and drawing.