Sentences with phrase «of different artistic practices»

The residency will facilitate the coming together of different artistic practices, backgrounds and cultures; enabling the artists to work alongside one another, to exchange their experiences within the visual arts, and to explore aspects of the history of the Royal Academy and London, as well as to form long - lasting professional relationships.

The Royal Academy Forum is the RA's long established forum for public debate on the arts, exploring ideas at the intersections of different artistic practices, and their interface with philosophical, political, social and economic issues and contexts.

10 am Conversation: Artistic Practice The Artist as Curator This panel provides an ongoing overview of the different artistic practices..

Not exact matches

At this event, parallels and differences in the artistic practice of these two concept artists — two artists who belong to the same generation, but come from very different cultures and social backgrounds — will be discussed.

In organizing and running this residency project, it is the main goal of the members of PILOTENKUECHE to offer a platform that encourages dialogues and exchange about artistic practice from different people, coming from different places, and working in different techniques.

Walking is an important part of his artistic practice, providing an opposition to the conventions of monuments, objects, or normative crossing points, and thus a different way of interacting with urban infrastructures.

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

With your support, Art in General can continue to offer cutting - edge programs at no cost to the public, enabling them to engage with critical and timely issues through the exploration of different artistic and curatorial practices.

The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.

In the recent paintings and photographs that are displayed alongside her sculpture, certain natural motifs recur in different forms, and the interdisciplinary nature of Mary's artistic practice can be seen in the shared monumentality of this broad, yet unified, exhibition.

Elizabeth Michelman's multi-media practice embodies sculpture, painting, music, installation, drawing, video and poetry and explores the connections and incompatibilities of different artistic languages and disciplines.

Andreas Eriksson's artistic practice is highly expansive, encompassing a wide range of different media, including painting, photography, sculpture and installation.

Thematic areas The exhibition itinerary is currently articulated in nine different thematic areas, which document some of the most innovative aspects of the artistic practice from the second half of the twentieth century until today, seen through the experience of the former Galleria d'Arte Moderna.

In her artistic practice, she addresses interpretations and identifications encouraged by language and image in relation to different temporalities, employing translation and transformation and playing with formats and rituals of fabricating and perceiving art and in a broader sense meaning.

The acquisition of Leg Chair and Manarch Pasta represents different aspects of Hamilton's artistic practice and contributes to the beginning of a fruitful relationship between the museum and the artist.

Humans have a lot of different kinds of attention, some for reading or for conversation, others for creative activity, still others for artistic practice, dance, meditation, music and so on.

Although the same social, cultural and political context characterized the social and cultural dynamics in the US and the UK, the emergence of the Pop Art in these two countries was marked with different artistic groups and practices.

Diversity: working with visual artists of different ages, ethnicities, career trajectories, geographies, gender and artistic practices.

The studios will be dedicated to visual artists of different ages, socioeconomic backgrounds, ethnicities, career trajectories, genders, sexuality and artistic practices.

The three practices in the exhibition, two artistic and one curatorial, represent three modes of creative production as well as different generational ideas on working in the cultural sphere.

The aim is to offer fresh perspectives on Tibetan Buddhist images that have rarely been understood outside of their cultural and devotional contexts, and to forge new connections between different spheres of artistic practice, both traditional and modern.

Firstly, we will be making a new kind of space that is needed to support the practice of today's artists, who are thinking and working in very different ways across artistic disciplines.

Projects under this banner may take different forms that reflect the diversity of artistic practice presented in its galleries and programs.

Its focus on artistic programmes will enable different actors to expand on present - day research interests, modes of production and display, and how these curatorial practices can shape the institution that generates them.

In each guide a different group of artists and photographers will share their insights, personal experiences and advice with creatives that wish to grow and evolve in their artistic practice.

These environments serve as spaces for individuals of different social, economic, and cultural backgrounds to exchange ideas and experiences, spurring the development of new artistic disciplines and approaches.In today's New York City, artists working in this social practice find themselves increasingly challenged in their search for logistical and financial backing.

This group exhibition showcases five international artists from different generations — Curtis Anderson, Louisa Clement, Owen Gump, Sigmar Polke and Anna Vogel — whose diverse photographic - artistic practices examine the possibilities of the image and see its contents as ephemeral traces of external reality.

For their second session, the group explored the Victoria & Albert Museum's collection, selecting items from the Prints and Drawings Room which considered different representations of the female body throughout history, and identified the use of autobiography in artistic practice.

Volume 1 is the first in a series of publications presenting different aspects of Michael Stipe's multifaceted artistic practice.

Kashihara, who has also learned the traditional European art, does not merely attempt the assimilation of different traditions, but observes the existent category critically, and engages earnestly in her artistic practice of «own individual history».

His artistic practice is concerned with different possibilities of dealing with photographic archives and their respective manifestations, as well as with the interrelations and...

Since Carolyn is closely involved in working with artists, she has a grasp on the larger historical understanding of artistic practice from different places.

How do you compare the different art school approaches and which training has been the most valuable experience in terms of your current artistic practice?

I'm inspired by so many different aspects of people's artistic practices - not only visual artists but choreographers, musicians, textile / fashion designers, writers — the different creative processes are what often sparks inspiration for me, and those who are passionate about their practice.

Despite being better known as a writer, Kilomba has been exploring experimental and multidisciplinary artistic practices, using and combining different means of expression: from performance and video installation, to stage readings and lectures, enabling an interface between text and image, artistic language and academic language.

It deals with a generation that is facing falling expectations for individual and collective well - being, while at the same time being confronted in the professional sphere with a panorama in which academic, cultural and commercial interests overlap with each other, confusing the real value of artistic practice: namely, giving shape to visions that are capable of bestowing a different meaning on their historical circumstances.

This first - hand immersion in different cultural contexts became the basis for a dynamic artistic practice that examines the repercussions of Western hegemony for non-Western cultures and the continued give - and - take between both sides of the colonial divide.

The new solo exhibition especially designed by the artist for the Kunsthaus gives visitors a chance to explore the wide range of her artistic practice in different media.

Gathered in the exhibition, the very different works express an absorption by materials and techniques, but also embody a confrontation with notions of artistic practice, questioning what artistic processes can be today.

With its status of first visual art biennial in Central Africa, the Lubumbashi Biennial offers a large choice of artworks: from those testifying the current situation of artistic practice in D.R.Congo to the productions of invited artists from different geopolitics places.

Showcasing three different practices of curating and making art online the focus is on what stories we tell, what objects are displayed and how they are performed through curatorial and artistic practices and strategies online.

What about different ways of creativity, artistic practices, or cultural forms that nurture our ways of working?

The thoughtful pairing of these works from different periods of Bryars» career highlights those artistic values which came to define his influential practice: a life - long appreciation of ceremony, formal rigour, transient beauty and a unique sensitivity to materials.

Now, a very different side of Strumbel's artistic practice will be on display: instead of his well - known sculptures of re-appropriated traditional objects such as cuckoo - clocks and crucifixes, Strumbel will present delicate works on paper, re-interpreting his own work.

In their artistic practice, both have produced bodies of work that oscillate between the medium painting and its objectuality in different ways.

He is a founding member of the Red Conceptualismos del Sur, an international platform active since 2007 that seeks different possibilities in writing, archiving, thinking, positioning, exhibiting and politically historicizing the artistic - political practices that have taken place in Latin America since 1960s.

Through their own professional and artistic practice, they represent different generations of aesthetic voices and intellectual directions.

This method of working redefined artistic practice and saw Paik expand the understanding of the arts through different media.

The engagement with a vocabulary of form from different historical articulations of abstraction is a central frame of reference in the artistic practice of Florian Pumhösl (b. 1971 in Vienna where he lives and works).

Ni es crea ni es destrueix («Neither Created nor Destroyed») is the title of an exhibition that explores the different degrees of mutual infiltration between education, training and contemporary artistic practices through art works created during the third (2011 - 2012) and fourth (2012 - 2013) editions of the programme Artists IN RESiDENCE at Barcelona Secondary Schools *.