Sentences with phrase «mediums by international artists»

Interpretations of the house in various mediums by international artists, including Louise Bourgeois, Olafur Eliasson, Cindy Sherman, and Ai Weiwei

Not exact matches

A unique amalgamation of artist, Spiritualist and medium, the fascinating and unexpected story of Houghton has generated international interest from curators and writers who see her work as representing an abandonment of figurative form that anticipates the development of modern abstraction by artists such as Kandinsky or Malevich by several decades.

Published by Moderna Museet, Stockholm in association with Hatje Cantz, the formidable catalogue also demonstrates the «great force» with which af Klint merged her talents as medium and artist.7 Edited by Iris Müller - Westermann, curator of International Art at Moderna Museet, the volume is weighted heavily on the visual; page after page of af Klint's works threaten to overwhelm the senses even in reproduction.

Other pieces, by David Levinthal, Cindy Sherman, and Lorna Simpson push the conventions of photography to new limits and expand our understanding of what the medium can be, while photographs by international artists, such as Shirin Neshat and Liu Wei exhibit the exchange of ideas that is possible in today's universally connected world.

The NCMA's newest exhibition space, this gallery is dedicated to showing video and multimedia work by local, national, and international artists creating in this exciting, ever - changing medium.

With over 600 square meters of exhibition space designed by Beijing - based artist / architect Ai Weiwei, Pekin Fine Arts strives to represent and to promote the best and most innovative contemporary artists from Asia, focusing on individuals adept at working in a wide - variety of medium, with experience in both domestic and international exhibitions.

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 Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

International in outlook, it draws together artists from every continent and documents the unprecedented variety of approaches and mediums used by today's artists — from oil paintings and bronze sculptures to video installations and performance.

This diversity reflects the creative energy of a burgeoning cohort of international young artists; even within a given medium, the pieces chosen by van Hagen reflect a wide range of artistic approaches.

The Exhibition «Making Space: Women Artists and Postwar Abstraction» at MoMA presents 100 works in a diverse range of mediums by more than 50 international woman aArtists and Postwar Abstraction» at MoMA presents 100 works in a diverse range of mediums by more than 50 international woman artistsartists.

The mission of Whitespace is to expand and introduce the viewer to current trends in contemporary art by creating international exhibitions by major mid-career contemporary artists using various mediums: including painting, sculpture, photography, drawing and video.

From April 5 to May 13, Royal Palace of Milan will host the third time exhibition curated by Davide Quadrio and Massimo Torrigiani, exploring Alcantara ® as an art medium to bring the audience into a journey of fantastical scenarios by 10 international artists.

Imaging Eden presents an overview of the medium's historic complicity as silent witness, pre-meditated booster, and passionate advocate of this unique environment, and also showcases commissioned work by five international contemporary artists, including Gerald Slota (USA), Jungjin Lee (Korea), Bert Teunissen (the Netherlands) and Jim Goldberg and Jordan Stein (USA), whose practice is photo - based.

The Unframed World: Virtual Reality as artistic medium for the 21st century introduces VR experiences by nine international artists that are embedded in their installations, projections, video works or sculptures in the exhibition space.

Drawing Now, published to accompany the first major survey of contemporary drawings at The Museum of Modern Art, New York, in 15 years, contains more than 100 color reproductions of work by 26 international artists, both well - known and emerging, that demonstrate the fascinating variety of methods and approaches, mediums and scales, apparent in this old - again, new - again art.

The emotional intensity characterizing this photograph has informed subsequent acquisitions for the collection, which now exceeds over 4,000 works by international artists that span the history of the medium and its international breadth.

In May 2011, Ikkan Art expanded to Singapore by establishing Ikkan Art Gallery with programmes that present museum quality artworks by international artists across a wide range of mediums including painting, sculpture, photography, video and new media art.

The flexibility and variability of the medium encouraged artists to explore the potential of different fibers and methods, and, by the 1960s, fiber art had entered the international stage.

This exhibition presents a collection of artworks by international artists, designers, illustrators, comic and graffiti artists, photographers and more who have used skateboards as their inspiration and medium.

London began at MoMA within the International Exhibitions and Print departments, the latter headed by Riva Castleman, who encouraged London to work with artists books, another, perhaps «lesser,» overlooked medium meant to reach a wide audience, similar to video.

In the group exhibition «The Projective Drawing» at Austrian Cultural Forum New York (ACFNY), curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.

Founded by Anthony Cran and Naomi deLuce Wilding, Wilding Cran represents international contemporary artists working in a variety of mediums.

In The Projective Drawing, the curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.

On view from April 15 through August 13, 2017, Making Space: Women Artists and Postwar Abstraction features approximately 100 works in a diverse range of mediums by more than 50 international aArtists and Postwar Abstraction features approximately 100 works in a diverse range of mediums by more than 50 international artistsartists.

New Photography 2013 presents recent works by eight international artists who have expanded the field of photography as a medium of experimentation and intellectual inquiry.

Over 50 international artists will show at the fair, presenting a wide range of genres under the overall banner of photography, from works by estimable pioneers of the medium to those by exciting new talents.

Excerpted from Phaidon's The 21st Century Art Book these works by top - tier international artists from show how different mediums can be used to relay important messages.