Sentences with phrase «notions of artistic approach»

The DG BANK collection, consisting of over 3,000 photographs, addresses notions of artistic approach through the unique curatorial strategy of purchasing works in what might be termed a «call and response» fashion.

Not exact matches

Appropriating the name of a popular brand of French notebooks, the group's members use this construct to approach the notion of artistic identity itself as being the equivalent of Warhol's Brillo Box or Duchamp's Fountain — a preexisting object that can be transformed by recasting it in a new context.

Together, these works dismantle notions of artistic autonomy through multifarious approaches to collaboration, outsourcing and appropriation, while revealing the complex social and economic systems in which we are complicit.

In her essay for the show's catalogue, E. Carmen Ramos, the Smithsonian's curator of Latin American art, writes, «Tamayo embraced notions of arte puro, or pure art, which circulated in some Mexican avant - garde artistic circles that championed artists» individual, rather than sociopolitical and collective, approaches to modern Mexican art.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Her artistic vision was based upon an inter-disciplinary approach to fine art, uninhibited by preconceived notions and theories of the art movements of the past.

The editorial approach follows an interest in unresolved narrations of history, culture and the geo - political, and the ways they condition contemporary notions of artistic practice, with a recurring concern of the relationship between contemporary art and the archive.

His approach to living as an artist can be compared to Gerhard Richter, who used another strategy to question and complicate simple notions of artistic identity — moving between types of painting.

His tongue - in - cheek methods often recall procedural approaches typical of 1960's Conceptualism, but without sharing their utopian ideals and notions of artistic genius.