With «Altermodern,»
a new contemporary artistic production era is established and a new red - hot topic arises that without a doubt is already sparking vigorous controversy.
Not exact matches
So much writing about
contemporary art today is quick to identify the successes of the age, to establish a
new canon of
artistic production, but what would happen if ambivalence became a productive force, if art were no longer judged according to a vague and malleable scale of quality?
The Museum of
Contemporary African Diasporan Arts (MoCADA) uses the visual arts as a point of departure for exploring
new artistic production across a variety of disciplines.
The Borusan
Contemporary Art Collection is constantly expanding through acquisitions and
new commissions that support
artistic production.
The show presents a chronological reading of the
artistic production in different moments of the history of Brazil - Modernism,
New State, Golden Age, Leaden Years and
Contemporary art.
It also includes a two - day symposium (March 5 - 6) examining the diverse practices of artists, curators and collectors from Africa and the Diaspora through a series of panel discussions and video screenings, looking at
new global phenomena in
contemporary artistic production.
During these last years, the gallery has opened up its focus onto the
new forms of the
contemporary artistic production, which are more correlated to Graffiti Writing and Street Art.
«Thanks to some of the shortcomings imposed by the political and socioeconomic context here, the art scene has developed its own specific type of
artistic production and a wide range of self - managed independent projects,» Converti tells me, before rattling off some of the
new leadership moving art forwards at cultural and
contemporary arts institutions.
Responding to the current climate of art fairs in regard to
artistic production and reception, Paris Internationale is a joint initiative from five emerging galleries — Crèvecoeur, High Art, Antoine Levi, Sultana and Gregor Staiger — as a collective attempt to develop an appropriate model for fostering
new advanced initiatives in
contemporary art.
Taken as a whole, the exhibition is a clean, a strong, and a varied one and of vast
artistic, educational interest and importance, and, if I mistake not, will have as a result, and despite the unquestionably skeptical and even hostile attitude towards the merits of the
new foreign movements, or an indisposition to accept them as being worthy of the title of art movements in general — the most marked effect upon the cause of art in America, and upon the coming
production of American painters and sculptors, than anything that has occurred since the first exhibition of the so - called Munich band of young American painters in the old American art galleries in 1878, and of the work of Monet and his
contemporaries and followers held here in 1883.
Awarded biannually to a young Greek or Cypriot artist, the Prize aims to identify and showcase the work of an emerging generation of
contemporary artists who are actively redefining the parameters of cultural
production and contributing to
new issues in the
artistic discourse.
TSA
New York and NURTUREart will host a dialog on abstract painting's critical reception today, and Brooklyn's role in its recent importance in
contemporary artistic production.
Is this a worthy challenge of
contemporary arts insularity or does it discount subversive and against - the - grain art
production, made by and for art communities, including that which is made within and by these same diverse communities that are being targeted by
new funding initiatives as in need of help in the form of
artistic interventions?
Today's funding trends such as Creative Place - making, made possible through partnership enterprises among foundation, governmental, and financial - sector support, such as ArtPlace America, are concentrated on giving art and artists opportunities in diverse communities yet also require artists and arts organizations to think through an entrepreneurial frame by integrating their initiatives into their community's economic development and community revitalization strategies and having the potential to attract additional private and public support of the community.3 Is this a worthy challenge of
contemporary arts insularity or does it discount subversive and against - the - grain art
production, made by and for art communities, including that which is made within and by these same diverse communities that are being targeted by
new funding initiatives as in need of help in the form of
artistic interventions?
3 pm, Galpão VB >> Launch of Amigos Videobrasil The
new membership program offers di erent support options for those wishing to contribute to the continuation of Videobrasil's public programming and venue, aimed at promoting the
contemporary artistic production of the global South, expanding access to visual arts, educating audiences, and preserving the Festival's Historical Collection.
The curators are: Sally Tallant, Director, Liverpool Biennial Dominic Willsdon, Curator of Education and Public Practice, San Francisco Museum of Modern Art Francesco Manacorda,
Artistic Director, Tate Liverpool Raimundas Malasauskas, curator and writer Joasia Krysa, Head of Research, Liverpool Biennial and Director, Exhibition Research Centre Rosie Cooper, Head of Programmes, Liverpool Biennial Polly Brannan, Education Curator, Liverpool Biennial Francesca Bertolotti - Bailey, Head of
Production and International Projects, Liverpool Biennial Ying Tan, Curator, Centre for Chinese
Contemporary Art (CFCCA) Sandeep Parmar, Co-Director, Centre for
New and International Writing Steven Cairns, Associate Curator of Artists Film and Moving Image, ICA
Through painting, sculpture, installation, and
new media, the works in the show address how the internet has shaped
contemporary culture and
artistic production since its inception in 1989.
The exhibition presents works that talk about the relation between photography and other media, making possible
new meanings and paths for
contemporary artistic production.