Sentences with phrase «new identity of the artist»

A new identity of the artist is asserted in which the self is measured in the interaction with the other, both mirroring and questioning societal norms.

Not exact matches

When details of her self - titled 2013 album were originally leaked earlier that year under the moniker Mrs. Carter, it was panned by some critics for its foreshadowed embrace of the artist's still - new identity as hip - hop mogul Sean «Jay - Z» Carter's wife rather than the trailblazing feminist icon who coined powerful female anthems like Irreplaceable, Single Ladies and Independent Women from her Destiny's Child days.

Dr Jago Cooper said: «For the millions of indigenous peoples living in the Caribbean before European arrival, caves represented portals into a spiritual realm, and therefore these new discoveries of the artists at work within them captures, the essence of their belief systems and the building blocks of their cultural identity.»

But among artists and scholars alike, the Asian nonhuman has also posed the utopic possibility of an identity free from the white gaze through the construction of a new life.

The soulful main theme, «Trouble Man», wields the idiosyncrasies of the legendary Motown artist while echoing the emotional journey of Robert Hooks» lead character Mr T. Advancing Gaye's outline of soundtracking for a new generation of film and music lovers, Lamar evidently foregrounds his own musical identity while adding nuance to Black Panther's characters via the lead single «All The Stars».

2008 Party at Phong's House, curated by Chris Martin, Galeria Janet Kurnatowski, New York, NY There is No There There, Rivington Arms, New York, NY Accident Blackspot, curated by Jim Lee and Rob Nadeau, Freight + Volume, New York, NY Defining A Moment: 25 New York Artists, curated by Simon Watson, House of Campari, New York, NY Unnameable Things, Artspace, New Haven, CT Accident Blackspot, Markus Winter, Berlin, Germany Performed Identity, curated by Simon Watson, Kathleen Cullen Fine Arts, New York, NY Untitled (Works on Paper), Moti Hasson Gallery, New York, NY Bucket Rider Gallery, Chicago, IL

Ed McGowin presents a selection from his Name Change project in which the artist legally changed his name twelve times and created new identities and corresponding bodies of artwork.

This spring, the Serpentine presents the first European solo exhibition of American artist Sondra Perry (b. 1986, Perth Amboy, New Jersey), who explores the intersection of black identity, digital culture

Glenn Ligon — a New York artist who explores themes of race and identity — got the rock - star treatment when he visited.

The artist talks about her new show, Unknown Women, in which she explores concealment of identity, t...

Among her groundbreaking exhibitions and publications over the past forty years are The Russian Avant - Garde, 1910 - 1930: New Perspectives; German Expressionist Sculpture; Degenerate Art: The Fate of the Avant - Garde in Nazi Germany; Exiles + Émigrés: The Flight of European Artists from Hitler, Made in California: Art, Image, and Identity, 1900 — 2000, and exhibitions of David Hockney, Ed Kienholz, Ken Price, Maria Nordman, Sharon Lockhart, and Alexander Calder, several of which featured installations designed by Frank Gehry.

Organized by MOCAD senior curator at large Jens Hoffmann (also deputy director of the Jewish Museum in New York) and Pablo León de la Barra (UBS MAP Latin American curator at the Guggenheim), the group exhibition stems from a decades - long conversation between the two curators about the identity and diversity of Latin American artists.

This spring, the Serpentine presents the first European solo exhibition of American artist Sondra Perry (b. 1986, Perth Amboy, New Jersey), who explores the intersection of black identity, digital culture and power structures through video, media, installation and performance.

NEWS The forthcoming Institute of Contemporary Art Los Angeles (ICA LA) introduces a bold new logo and brand identity designed in collaboration with Los Angeles artist Mark Bradford.

It was clear in a series of self - portraits by Justin Vivian Bond — who is best known for experimental cabaret performances — that were displayed at the New Museum last fall, and seemed to casually but definitively announce Bond's identity as a trans artist.

2009 The Embassy, Curated by Xerxes Cook and Alex Dellal, 33 Portland Place, London, UK Artists» Art / Artists» Books, Glenn Horowitz Bookseller, East Hampton, NY Elevator to the Gallows, Galerie im Regierungsviertel / Forgotten Bar Project, Berlin, Germany Story without a Name, Curated by Blair Taylor, Peres Projects, Berlin, GermanyPrivate, Con Der Hydt Museum, Wuppertal, Germany The Collectors, Curated by Elmgreen and Dragset, Danish and Nordic Pavillions, 53rd Venice Biennale, Venice, Italy Onedreamrush, Beijing Independent Film Forum, Beijing, China DLA Piper Series: This is Sculpture, Tate Liverpool, Liverpool, UK Mexico: Expected / Unexpected, Tenerife Espacio de Las Artes, Santa Cruz de Tenerif Imagine, There: Three Contemporary Mythologies, A Space Gallery, Toronto, Canada The Porn Identity, Kunsthalle Wien, Wien, Germany The Temptation to Exist: Douglas Gordon, Any Warhol, On Kawara, terence koh, Yvon Lambert Gallery, London, UK KKK: Featuring terence koh, Jeff koons, and Mike Kelley, Mary Boone Gallery, New York, NY A Tribute to Ron Warren, Mary Boone Gallery, New York, NY New York Minute, Macro Future Museum, Rome, Italy Objective Affection, Boffo, Brooklyn, NY Dancing with Rodin, The Brooklyn Museum, Brooklyn, NY Tompkins Square Park Procession, Tompkins Square Park, New York, NY Art History 1642 - 2009, National Arts Club, New York, NY Performa 09, Third Biennial of Visual Art Performace, New York, NY Degeneration / Regeneration, Marina Abramovic Institute, San Fransico, CA Compassion, Curated by AA Bronson, The Institute of Art, Religion and Social Justice, New York, NY Contemporary Artifices and Baroque Difformities, Arcos - Sannio Museum of Contemporary Art, Benevuto, Italy Marina Abramovic Presents..., The Whitworth Art Gallery at the Universtiy of Manchester, UK Get a Rope, Ctrl Gallery, Houston, TX

Indeed, the social histories and identity politics explored in work made during the Civil Rights, Black Power, and Black Arts Movements is being investigated by a new generation of scholars and curators, bringing attention to overlooked artists central to the era, AfriCOBRA artists in particular.

Curated by Agustín Arteaga, the DMA's new Eugene McDermott Director, and the result of a combined cultural endeavor between Mexico and France, this major traveling exhibition showcases the work of titans of Mexican Modernism alongside that of lesser - known pioneers, including a number of rarely seen works by female artists, to reveal the history and development of modern Mexico and its cultural identity.

The New York gallery's program focuses on artists of the late 20th century whose work explores concepts such as representation, authorship, identity, and sexual politics across a wide - range of media.

Through radical, poetic, ironic and often provocative investigations, female artists were galvanised to use their work as further means of engagement — questioning feminine identities, gender roles and sexual politics through new modes of expression.

2010 Schwager, Michael, Personal Identities / Contemporary Portraits, University Art Gallery Sonoma State University, November / December Schuster, Dana, A-List Artist, New York Post, 29 December Siverio, Ida, Kehinde's R - evolution, October, pp. 24 - 27 Watson, Simon, Kehinde Wiley, Whitewall Fall 2010, pp. 119 - 123 Halperin, Julia, Kehinde Wiley Now Represented in New York by Sean Kelly Gallery, New York Observer, 17 September Jackson, Brian Keith, A World Stage, Juxtaposed: Kehinde Wiley Between Africa and China, Leap No. 03, pp. 86 - 93 PAFA's Summer Surprises and More, SanArt, 1 August Feldman, Melissa, World Cup Chic Kehinde Wiley's Fancy Footwork, New York Times Magazine, 2 June Loszach, Fabien, Bling - Bling, Everytime I Come Around, Esse Arts + Opinions, No. 69, Spring / Summer Badinella, Chiara and Fabrizio Affronti, Grandi Maestri, Fonte Perenne, La Casana No. 1, January - March, pp. 26 - 29 100 Artisti da Scommetterci / 100 Artists to Bet On, Arte Magazine, Milan, Italy, August, pp. 120 - 140 Hunt, Kena and Watson, Simon, Kehinde Wiley, Vogue Italia, October Dreyfuss, Joel, Meet the Root 100, 2010 Edition, The Root unveils its latest list of young African - American pace setters and game changers, The Root, 10 October Garfield, Joey, Kehinde Wiley, Juxtapoz January, pp. 46 - 61 Karcher, Eva, The Colours of Africa: Art Beyond the Primitive, The Mini International Vol.34, Issue 2, pp. 36 - 41 Krentcil, Faran, First Look: Puma Africa, Nylon Magazine, 16 March

It continues with works from the world's leading innovators in the arts, as they break through thresholds of space, memory, sound, and genre — from Philippe Parreno who, in his largest exhibition in the U.S. to date, transforms the presentation of visual art into an evolving sensory journey; to Wayne McGregor, Olafur Eliasson, and Jamie xx as they create a new contemporary ballet; to avant - garde performance artist Laurie Anderson who, through a site - specific installation in the Armory's drill hall, will expand upon her work with storytelling and technology to create a site - specific environment that serves as a meditation on time, identity, surveillance and freedom; and finally to Igor Levit and Marina Abramović as they interpret Bach's renowned Goldberg Variations, to create a concentrated durational performance that reflects upon music, time, space, emptiness, and luminosity.

Our two fairs (Basel and New York) began with their own unique identities: VOLTA Basel was founded by three galleries as a fair «by dealers, for dealers», meaning first and foremost we have the galleries» (and their artists») best interests in mind, from the quality and curation of art to the venue and presentation of it.

The artist and philosopher Adrian Piper's direct and subtly intellectual approach to unpacking the tangled issues of race, gender, identity, and belonging has inspired a generation of socially - conscious artists across all media, although her impact is just now being fully recognized: she was the recipient of the Golden Lion for best artist at this year's Venice Biennale, and MoMA has recently announced plans for, in the words of Robin Pogrebin in the New York Times, «the most comprehensive exhibition to date on the conceptual artist,» set to open in 2018.

This underground group developed a near - fanatical following which took part in a controversial cultural production strategy called «Posing,» where member artists appropriated the identities of their more well - known contemporaries in order to create attention for new work.

Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity.

The portrait, titled Hold It in Your Mouth a Little Longer, explores notions of identity while challenging gender and racial stereotypes, themes the artist continues to explore in her first solo museum exhibition in New York, «To Wander Determined,» opening today at the Whitney.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

In a new exhibition at the San José Museum of Art, artists use the idea of the single - family house to explore memory, identity, and belonging.

Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity, engendering a new visual pronoun.

Collectively, these artists explore notions of culture, identity and the complex colonial histories of Indigenous people using photography, film and new media.

History, Memory, and Identity During the 1990s many artists began examining how representation has traditionally inscribed difference and «otherness» in terms of sexual orientation, racial identity, and ethnicity, thus opening a new threshold in cultural consciIdentity During the 1990s many artists began examining how representation has traditionally inscribed difference and «otherness» in terms of sexual orientation, racial identity, and ethnicity, thus opening a new threshold in cultural consciidentity, and ethnicity, thus opening a new threshold in cultural consciousness.

The show paid homage to Ward's exploration of identity (including his Jamaican roots and his life as an artist in New York) and environment through immersive architectural installations, as well as sculptures and photographs, forged largely from found objects.

Us is a show of new work by younger and more established local and international artists around the theme of group identity, whether nation, culture, class, gender, sexuality or race.

It was a movement in emphasis, from one dominant form of art that had existed for centuries to a new and challenging one; one in which the identity of the artist was offered as a simultaneous alternative to the traditional object, historically identified as «the subject» of a piece.

Legitimizing The Other: Art and National Identity in the Age of Globalization, Panelist, New York University, October 9, 2004, New York Visiting Artist, School of Visual Arts, New York, April 2004

Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds.

For Oursler's first solo exhibition in Hong Kong, entitled «PriV % te,» Lehmann Maupin gallery presents eight new multimedia wall works and sculptures offering the artist's perspective on a particular slice of chaos erupting at the convergence of digital media and cultural identity: facial recognition technology.

Best known for absurdist public performances, Pope.L has a history of dealing with the politics of race and identity — which the African - American artist doesn't limit to black versus white: His installation at the 2017 Whitney Biennial, for instance, consists of a four - sided structure covered with rows of rotting bologna slices meant to represent the percentage of Jews in New York City.

Fredric Snitzer Gallery will exhibit new works by another Cuban artist María Martínez - Cañas (b. 1960), whose conceptual photographs engage with narratives involving origin, perception and identity, based upon the artist's own feelings of dislocation following her move from Cuba to the United States in the late 1970s.

Against this backdrop, a new generation of black and Asian artists, writers and curators began to respond to the political, social and sexual issues of the day, getting together to create exhibitions and develop subversive strategies, and to produce art, film and literature that reflected their diverse identities and experiences.

Led by Artistic Director Trevor Schoonmaker, Chief Curator of the Nasher Museum of Art at Duke University, Prospect.4 brings together 73 artists from North America, Latin America, the Caribbean, Africa, Asia and the European powers that colonized New Orleans, addressing issues of identity, displacement and cultural hybridity within the context of the celebration of the city's Tricentennial.

Exhibitions include: a group exhibition curated by artist Nayland Blake that investigates queer identification through new communications technologies; the first comprehensive career survey and solo museum exhibition dedicated to Cary Leibowitz, whose bold text - based works address issues of identity, sexuality, and queer politics; and a focused exhibition on broadcast and video work, organized in partnership with Electronic Arts Intermix (EAI), that focuses on how artists have engaged with the legacy of broadcast media.

During a discussion hosted by the institute which saw the artist discuss the exhibition with Marco Delogu, Director of the ICI, Gregor Muir, Executive Director of the ICA — Institute of Contemporary Arts, London and the curator Eugenio Re Rebaudengo, founder of ARTUNER, Cerutti emphasised his wish to objectify the body whilst giving a new sense of identity to the objects depicted in his paintings.

Among the highlights of its first eight years are: Bernd Alois Zimmermann's harrowing Die Soldaten, in which the audience moved «through the music;» the unprecedented six - week residency of the Royal Shakespeare Company in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling gauzy, multi-sensory labyrinth created by Ernesto Neto; the event of a thread, a site - specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; the New York Philharmonic performing Karlheinz Stockhausen's sonic masterpiece Gruppen with three orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a sonic environment that blurred the boundaries between artist and audience created by the xx; an immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh; tears become... streams become..., a genre - defying collaboration between artist Douglas Gordon and pianist Hélène Grimaud, which flooded the Armory's drill hall with an installation of water, light, and music; and HABEAS CORPUS, a performance and installation by Laurie Anderson based on the story of a former Guantanamo Bay detainee that examines lost identity, memory, and the resiliency of the human body and spirit.

And as Basquiat sped towards international acclaim, the skull took its place among a number of figural forms — crowned kings and athletic champions, to name but two — through which the artist channelled his new identity.

2017 On Bodies: GMF x UNT, The Goss - Michael Foundation, Dallas, Texas «The Critic as Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotland

By focusing on specific periods, the curators are able to delve into the political and social realities that shaped American identity across these decades, and to unearth the distinct relationships, imagery, and themes that characterized the work of many major artists engaged with creating new modes of portrayal.

With these new bodies of work, the artists have taken various sculptural approaches including assemblage, digital fabrication, installation, and drawing to discuss pressurized conformity in relation to the body, land, and identity.

Post-War America, with its strive for a new identity as the new global art center and a new set of values, created an auspicious ground for the avant - garde artists such as Jackson Pollock, Mark Rothko, Arshile Gorky, Robert Motherwell, Willem de Kooning, and Barnett Newman and although their works differed aesthetically and technically, art critics like Clement Greenberg classified them all as abstract - expressionists.