Sentences with phrase «narrative art forms»

I was into video games, movies and comics, all these different narrative art forms and things that were centered on creativity and somehow music wasn't part of that.

For Self, who wrote in the Guardian in May about how «the literary novel as an art work and a narrative art form central to our culture is indeed dying before our eyes», because «the hallmark of our contemporary culture is an active resistance to difficulty in all its aesthetic manifestations», the new statistics were no surprise.

«In Electricomics, the world's oldest narrative art form and youngest technology combine as a uniquely 21st century medium, establishing a thought - through toolkit of open - source effects enabling its audience to create digital comics themselves, bringing their vital ideas to an exciting new mode of entertainment and education.»

Okay, my argument here is that video games are not a narrative art form, even though they can certainly contain a strong narrative.

Not exact matches

As the Cold War was rooted in a conflict of ideologies and visions, so it was a drama unfolding in narrative form, and nobody could equal John Paul as a master of the dramatic arts.

While conversion narratives had to be awkwardly borrowed from Christians, satirical cartoons were an art - form uniquely suited to desecration.

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

The narrative, mainly in diary form, feels accurate and realistic, drenched in a sense of confusion and nihilism, and the art, influenced by Craig Thompson's Blankets (2003), reflects the spare, gloomy emotional landscape in which Skim exists.

Tan infuses this simple, universal narrative with vibrant, resonating life through confident mastery of sequential art forms and conventions.

The four narratives here, which can be read in any order, are linked by the omnipresent spiral, which appears in art as a universally aesthetically pleasing form, in naturally occurring shapes, in mathematics, in astronomy, right down to our very DNA.

Colescott, Marshall, and Thomas marry appreciation of these traditional forms of representation to a deep understanding of contemporary American culture to create insightful works that disrupt historic narratives and read canonic art history against the grain.

I think that as technology develops, it really changes both the narrative and the form of art.

Pitched between depicted action and the act of painting - paint's illusory potential and its materiality - Furnas entwines history with art history in provocative combinations of narrative and form.

But whereas that exhibition consolidated an emergent artistic practice, Other Primary Structures consolidates a highly problematic form of global art history, one that is no less hegemonic than the narrative from which it supposedly departs.

Jonas, who studied sculpture and art history, was deeply influenced by the work of Trisha Brown, with whom she studied dance, as well as John Cage and Claes Oldenburg, particular in their exploration of non-linear narrative structure and form.

Of the many competitors for our attention when we look at a work of art — meaning, narrative, form, colour, gesture, scale, sound, movement — its weight is not generally high in the list..

Gander is an inventive polymath, a creator of worlds and teller of tales, whose making takes forms as varied as a lecture series entirely based on «loose associations,» a nonlinear narrative of wildly disparate ideas and images found and collected by the artist; re-creations of children's tent - forts sculpted in marble; the construction of complex mechanisms to generate a gentle breeze that wafts through a gallery; a conveyer belt carrying sculptures that can only be seen through one window; or detailed designs for an art school that may never be realized.

The works are typically generated in response to specific historical material encountered in the process of making, researching and reflecting, often incorporating pre-existing forms, structures and art - historical narratives which are recreated, replayed and restaged as a means of exploring more contemporary stakes.

From many such narratives, FADE IN draws out the art objects, granting them the status only previously achieved on - screen, whilst pointing to moments in which one form of media wrangles with the power of another.

Meuninck - Ganger received her MFA in Studio Arts from the Minneapolis College of Art and Design in 2004 and currently heads the Print and Narrative Forms area and is an assistant professor at the University of Wisconsin - Milwaukee.

Yet while the official art - historical narrative of that generation — Basbaum's peers include Beatriz Milhazes, Leonilson and Barrão, who came of age during the emergence of Brazilian democracy — highlights an almost postpolitical identity in which art is primarily a mode of self - expression as opposed to a form of social consciousness, Basbaum's sculptures, drawings, photographs and actions see the artist tie self - affirmation to the notion of the (still) political subject.

The school's program in «visual narratives» combines writing and visual art, for those interested in illustration, graphic novels, and other forms of «visual storytelling.»

In 1957, Farmanfarmaian returned to her native country, learning traditional art forms including Turkoman jewellery, reverse - glass painting and coffee - house painting — a popular form of Iranian narrative art.

With choreography specific to the structure of the building, a soundscape recorded over a month - long residency, and a narrative inspired by the centuries - old curatorial conundrum of the «Summer Exhibition», this is the London premiere of a performance which has taken different forms at a number of venues including the National Museum Stockholm, the Hamburger Kunsthalle and Birmingham Museum and Art Gallery.

Further highlights include Polly Apfelbaum's strips of textile that are combined to form a colorfully woven painting; Rashid Johnson's tropical enclave containing various unexpected elements from sculptures made with shea butter to video portraits; Katherine Bernhardt's monumental painting with tropical birds, cuddly robots and cigarette stubs, which at once editorializes and summarizes modern culture and the artist herself; an interactive multimedia installation by Nedko Solakov comprising nine sofas in the shapes of the nine Chinese characters constituting the phrase «I miss Socialism, maybe»; and Yu Hong's large - scale painting depicting a famous Chinese fable widely cited in both modern Chinese art history and Chinese Communist narratives.

Whether they are borrowed from the everyday world or sculpted into new forms, art objects are often tasked with approximating the narrative descriptions that accompany them.

Chinese contemporary art is in the midst of a special development phase marked by a shift from narrative to a focus on form.

Selections of work form the Wadsworth's extraordinary collection of contemporary art by artists such as Glenn Ligon and Jacob Lawrence and the loan of a single stunning portrait of Ms. Horne from the Smithsonian will punctuate the exhibition and illuminate the narrative.

The resulting works thus collapse the distinction between sculpture and other art mediums, such as painting and poetry, into a complete corporal, temporal, and narrative form.

Dalwood's work forms a narrative of art both contaminated and informed by life.

Chicago, Illinois, USA Once Upon A Time... A Loose Form of Narrative, Gallery A, Chicago, Illinois, USA (catalogue) 1992 Hair, John Michael Kohler Arts Centre, Sheboygan, Wisconsin, USA Healing, Wooster Gardens, New York, NY; Rena Bransten Gallery, San Francisco, California, USA Misadventures, Foster Gallery, University of Wisconsin at Eau Claire, Eau Claire, USA (catalogue) Lying on the Top of a Building the Clouds Seemed No Nearer Than When I Was Lying in the Street, Galerie Monika Sprüth, Cologne, Germany The Mud Club, Winchester Cathedral & Lake Nairobi, Gahlberg Gallery, College of DuPage, Glen Ellyn, Illinois, USA (catalogue) Feigen, Inc..

Working under the sign of Benjamin, «Storyteller» curators Claire Gilman and Margaret Sundell grouped together fourteen artists who employ the story form as a documentary mode, setting aside Benjamin's distinction between the subjectivity of oral communication and the assumed veracity of mechanical broadcast in order to investigate the use of narrative across a swath of contemporary art.

The piece presents a fictitious time ticking, synched to the real one and infused with a conceptual narrative, resulting in an experience that pushes the experience of watching movies past the cinematic art form into fine art.

These lively, interactive events incorporated narrative, mythology and theater in a single art form; they entertained a wide audience and provided a space to consider the otherworldly, mobilizing viewers» anxieties regarding death and the afterlife.

One compact definition offered is that while post-modernism acts in rejection of modernism's grand narratives of artistic direction, and to eradicate the boundaries between high and low forms of art, to disrupt genre and its conventions with collision, collage and fragmentation.

As an examination of the uses of narrative in contemporary art by women, the exhibition featured works in drawing, painting, video and new media reveal the continued power of storytelling in art today, and the myriad forms it takes.

At that time, the representation of the human figure was rejected on principle, but narrative and emotional aspects began to resurface in the art of the 1980s, along with the face as the dominant element of the human form.

Exploring the conventions and rhetoric of the images in the mass media, operating both on the gallery wall and the printed page in poster, book and magazine form, Burgin revels in straddling the boundaries between «visual art» and «theory», «image» and «narrative», in a way that makes reader and text interact, work together and create constant and engaged dialogue.

Installation view of «Form Through Narrative: New Chinese Art» at 229 Hamilton Ave, Palo Alto, June 22 - August 20, 2017.

They seem to use, with much more freedom, figure art, and other recognizable forms, with elements of abstraction, for the creation of sometimes ambiguous narratives.

A House of Leaves tells multiple narratives and asks its viewer to become co-author in order to present a collective effort to define an art form — in this instance the contemporary art museum, from its collection, displays, special commissions and loans, to its educational and interpretation system.

His works build a bridge between minimalist form, serial strategy and narrative content, and have had great influence on contemporary art.

Examining the role that African art and culture plays in the genesis of Rythm Mastr's main storylines — particularly as a gateway to this alternative reality — this paper posits Marshall's project as a revisionist history in graphic form that offers a world of possibilities outside of the commonly accepted narrative constructed around African art and modernism and its institutional legacy.

«A key figure associated with the emergence and foundations of conceptual art in Los Angeles during the late 1960s and 1970s, Leavitt is primarily concerned with narrative and its forms.

Instead, by exhibiting his work on the wall of a hut that is in no way a white cube, Nara has revived a form of narrative in art and heightened the relationship between art and its environment - elements that have been slowly eroded by modernism over the years.

The Institute looks at an emergent new art form where real world and fictional narratives collide to create unforeseen, unsettling consequences.

Using cultural matter as his material - medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.

Contrary to contemporary postmodern artists utilizing Letterform in art for mostly conceptual purposes, or Concrete Poetry that involves a form of Visual Poetry, Concrete Alphabets acts as hybrid where each artist defines his own work based upon unique personal narratives involving aspects of Letterform / Alphabets An important aspect of this shared perspective is how each artist has maintained and utilizes analog painting as a medium, thus allowing them to keep their own signature mark making prevalent in the artwork.

In the late 1960s, Dan Graham (American, born 1942) and Jeff Wall (born 1946) combined photographs with narrative texts and placed them in art galleries and publications to challenge traditional forms of display and the pristine aesthetics of the fine art print.

, Gwangju Bienniale, Gwangju, Korea (2016); Schnitt Schnitt (Cut Cut), Kunsthalle Darmstadt, Germany (2016); Metatextile: Ruptured Narratives, Exchanged Values, Edel Assanti, London, UK (2016); Paper Trail, Raffaella Cortese, Milan, Italy (2016); Surfaces & Solids, Green Art Gallery, Dubai, UAE (2015); DUST at the Centre for Contemporary Art Ujazdowsku Castle, Warsaw, Poland (2015); Investment Opportunities at the OFFICE Gallery, Cyprus (2015); Adventure of the Black Square: Abstract Art and Society 1915 - 2015, Whitechapel Gallery, London, UK (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art Gallery, Dubai, UAE (2015); DUST at the Centre for Contemporary Art Ujazdowsku Castle, Warsaw, Poland (2015); Investment Opportunities at the OFFICE Gallery, Cyprus (2015); Adventure of the Black Square: Abstract Art and Society 1915 - 2015, Whitechapel Gallery, London, UK (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art Ujazdowsku Castle, Warsaw, Poland (2015); Investment Opportunities at the OFFICE Gallery, Cyprus (2015); Adventure of the Black Square: Abstract Art and Society 1915 - 2015, Whitechapel Gallery, London, UK (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art and Society 1915 - 2015, Whitechapel Gallery, London, UK (2015); Longing Persia, Exchange and reception of art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201art in Persia and Europe in the 17th Century & Contemporary Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art from Tehran, Museum Rietberg, Zurich, Switzerland (2013); Safar / Voyage, The Museum of Anthropology at the University of British Columbia, Vancouver (2013); When Attitudes Became Form Become Attitudes, Museum of Contemporary Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art Detroit, Detroit, USA (2013); CCA Wattis Institute for Contemporary Arts, San Francisco, USA (2012); A Permanent Record For Future Investigation, Green Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (201Art Gallery, Dubai, UAE (2012); and Interior Renovations, Tehran, 2010, Green Cardamom, London, UK (2011).