Sentences with phrase «more contemporary audience»

It resonates globally, and that's important for us to get exposure to a different crowd, as it has a more contemporary reputation, and therefore a more contemporary audience.

Not exact matches

MEN»S NON-NO features an extensive array of menswear styles ranging from street, contemporary and high fashion, as well as more formal attires, making it appealing to a broad audience regardless of age and interest.

Such references more often than not feel like awkward pop culture plugs, in hopes of reaching out to a contemporary audience, or firmly dating this movie in 2013.

Maureen O'Hara's characterization of a feisty redhead with a mean right jab might also be seen with less humor by contemporary audiences who are more sensitive to domestic disputes.

«We're generally very selective about our historical dramas; our audience gravitates more towards contemporary portrayals so we have to make sure we have a very special film on our hands for this genre,» noted Lundberg.

Those crew members especially let rip with the re-enactment of Caesar, gliding across the stage and drinking in the contemporary detail like Welles» audience wish they could.7 Also typical of Linklater is a soundtrack that cherry - picks period tunes, here made to fit the music that is always humming inside Richard's head and add to the movie's vintage textures, with some original music by Michael J. McEvoy in more serious moments.

Insightful Screen Talks were given by celebrated directors, actors and industry professionals: Annette Bening, Guillermo Del Toro, Jake Gyllenhaal, Lucrecia Martel and Takashi Miike, offering festival audiences the opportunity to learn more about these leaders of contemporary cinema.

A by - product of pandering to a young, young audience, its biggest sin is that it alleges a greater basis in reality than its more «adult» contemporaries: The movie endeavours to give credence to the familiar tropes of storybook romance and rags - to - riches by applying them to the politicized zoo known as high school.

In the whole experiment, the new design for the non-fiction book was 12.5 % more effective at attracting its intended audience by employing clearer, larger typography, and hews closer to the aesthetic of contemporary non-fiction.

For more than 25 years, Cheryl Haines has developed site - specific exhibitions and public programs that have exposed new audiences to contemporary art and advanced discourse on art about place.

MEN»S NON-NO features an extensive array of menswear styles ranging from street, contemporary and high fashion, as well as more formal attires, making it appealing to a broad audience regardless of age and interest.

Final Fantasy has always had the privilege and the burden of appealing to a much more international audience than many of its Japanese contemporaries, and its penchant for novelty has played a big part in that.

On the occasion of her new publication Since» 45: America and the Making of Contemporary Art (Reaktion Books), art historian and critic Katy Siegel sat down with Rail publisher Phong Bui before an audience of artists - in - residence at the Marie Walsh Sharpe Foundation to discuss the book and more.

Her experience and vision will inspire our audiences and make a great contribution to our growing, more inclusive contemporary program.»

Designed to encourage and reward writing about contemporary art that is rigorous, passionate, eloquent and precise, as well as to create a broader audience for arts writing, the program aims to strengthen... read more... «Bloggers Paddy Johnson, Anjali Srinivasan, and Yuka Otani get Creative Capital / Warhol Foundation Writing Grants»

For more than fifty years, the American multidisciplinary artist David Hammons has astounded and enlightened audiences with his diverse, incisive, and conceptually brilliant artworks, many of which have since become icons of contemporary art history and lodestones for younger artists like Hank Willis Thomas and Rashid Johnson who continue to explore race in their work.

This access, which has broadly democratized the field, has created not only a larger and more engaged audience for this kind of art, but has also created more opportunities for this work to be contextualized within the larger narratives of contemporary art, as can be seen in the various approaches of curators such as Lynne Cooke, Massimiliano Gioni and Daniel Baumann, for example, all of whom have, in different ways, framed the work of self - taught artists within their curatorial projects.

Over the last 100 years we have played a unique and largely solitary role in the formation of public collections of contemporary art in this country, donating more than 8000 works where they are enjoyed by audiences everywhere.

A 2010 report commissioned by the American Alliance of Museums indicated that the racial composition of contemporary museum audiences has remained at a level of diversity reminiscent of the 1970s while the diversity of the general population has more than tripled during that time.

MILAN — For more than 20 years, the Prada Foundation has been staging contemporary art exhibitions in abandoned warehouses and disused churches here, bringing contemporary artists like Anish Kapoor and Michael Heizer to Italian audiences, often for the first time.

European and American audiences have had much more exposure to exhibitions relating to commissions by the contemporary French court.

Presenting more than 80 performances each year including popular music, contemporary dance, alternative cabaret, documentaries, and avant - garde theater, MASS MoCA offers a robust roster of performing arts programming, introducing audiences to the full spectrum of artists, embracing diversity in genre and experience.

His practice is devoted to creating documents that elucidate the hidden realities of contemporary Cambodian existence while creating a more comprehensive historical record for future generations of Cambodians as well as international audiences.

Committed to opening the world of contemporary art to a wider and more diverse audience Remen created and produced APF's series of Music Videos - collaborations between hip hop performers and visual artists.

Each program - talks, screenings, workshops, performances, outdoor projections, and more - stimulates the community with new ideas, fosters dialogue, provides a window into artists» creative processes, and connects audiences with the highest caliber contemporary art.

Filled with handwritten lyrics, stage costumes and childhood artifacts, and with hardly any attempts at placing Bowie's career within a visual art context or linking him to contemporary practices visual or otherwise, it is very difficult to see this one - dimensional exhibition as more than a tactic to get the non-art audience in the doors.

«While the biennial format can be interpreted and manifested in many ways, one of its best features is the creation of programmatic and promotional platforms to help make contemporary art more visible to audiences generally,» says Virginia Rutledge, curator - at - large for TX?

For 100 years, it has played a unique and largely solitary role in the formation of public collections of contemporary art in this country, donating more than 8,000 works where they are enjoyed by audiences everywhere.

Blue Star Contemporary currently welcomes nearly 18,000 visitors on - site each year, and more than 200,000 through off - site exhibitions in multiple regions across our geographically large city — an audience representative of San Antonio's diverse population.

But the drive toward narrative, and an art audience's fascination with stories, has resurfaced in recent years, often in video, but perhaps more evocatively in installations, which invite comparisons with developments in contemporary fiction — shuffled chapters, meandering plot lines, mash - ups of genres, and elusive or unreliable narrators.

At 8:20 p.m., the body artist Chris Burden entered a large gallery of the Museum of Contemporary Art, did not look at his audience of 400 or more, set a clock for midnight, and lay down on the floor beneath a large sheet of plate glass that was angled against the wall.

The performance reimagines the book for contemporary audiences by filtering a bit of the past through the voices and attitudes of a diverse community of more than 100 invited readers from Chicago.

The discussion series pairs one critic with two McKnight Visual Artist Fellows and offers the audience an opportunity to learn more about the fellowship recipients as well as how their work intersects with broader contemporary art ideas and concerns.

But there are also more nuanced references to America's influence in Catch the Moon, as well as works that reflect upon the complicated realities and challenges facing emerging artists working in China at a time when Chinese contemporary art is being ravenously consumed by Western audiences.

While the intersections of art & technology have garnered attention in the growing and varied genre known as new media, the practice of many contemporary artists relies on technology in ways that are more subtle to the eye and accessible to a wider public audience Curated by artist, art consultant and independent curator Beth Waldman and presented by Levy Art + Architecture.

While the intersections of art & technology have garnered attention in the growing and varied genre known as new media, the practice of many contemporary artists relies on technology in ways that are more subtle to the eye and accessible to a wider public audience.

The Stuckists say contemporary British artists are more interested in marketing themselves by shocking audiences than they are in expressing themselves.

Ligon draws important visual and thematic comparisons between the subtle shades of blue and black used in Ofili's Blue Devils (2014) and the «mood indigo» of the installation Concerto in Black and Blue (2002) by David Hammons — helping to further contextualize and integrate his artworks into a timeline of contemporary - art reference points with which U.S. and wider international audiences might be more familiar (87).

Valentine's work has also been included in a number of important group exhibitions that served to introduce the Light and Space artists to a national audience, including Annual Sculpture Exhibition, Whitney Museum of American Art, New York (1966, 1968, 1970); Sculpture Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011).

Conventional curatorial practice is ineffective, especially as contemporary institutions, artists, and audience demand much more than they ever have before.

«Audiences have become much more sophisticated in the past 10 years when it comes to contemporary art.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

Her experience and vision will inspire our audiences and make a great contribution to our growing, more inclusive contemporary program,» said Conrads.

The High wants to put itself in a position to draw more value out of its already large regional audience without sacrificing a mature revenue stream, while Atlanta Contemporary hopes to attract outside support from funders wanting to connect with its dramatically growing visibility.

«The November reopening of the contemporary wing is an important milestone for the BMA, as it is the first completed phase of the BMA's renovation to provide a more dynamic and engaging experience for our audiences,» said Museum Director Doreen Bolger.

By presenting this exhibition, we hope to share the art works as a particular case with the audience and have them to experience the «scene», evoking more reflection, discussion and research on Chinese contemporary art.

In any case, audiences for contemporary art are now more sophisticated.

For more than three decades Lisson Gallery has been at the forefront of developments in contemporary art, introducing young artists to a wider audience as well as providing continuing support to those whose reputations are already established worldwide.

Instead, audiences are more familiar with and engaged by multi-tasking artists who move fluidly between media, and for whom «pluralistic» describes not just contemporary art discourse but also their own individual practices.

Contemporary Art in the USSR and Russia.1950 - 2000» to the Pompidou Centre by Vladimir Potanin one of the wealthiest Russian businessman backed by 20 other collectors and 19 artists amply fulfils its aim to deepen knowledge of Russian art by the French and international audience but it should be the first step towards more ambitious goals.