Sentences with phrase «of visual artists when»

About the Contemporary Arts Center The Contemporary Arts Center (CAC) was formed in the fall of 1976 by a passionate group of visual artists when the movement to tear down the walls between visual and performing arts was active nationwide.

Not exact matches

Take out the clutter, answers a visual artist when asked by the CEO of a manufacturing company how to foster innovation.

Like many artists and personalities her age, she gained a following on Instagram when one of her freestyle raps, «Icy Grl,» and its accompanying visuals, went viral.

When it comes to bringing the 14th MCU film to the screen, Feige is in no doubt where the unique challenges lay: «Doing justice to the amazing visuals of artist Steve Ditko, who drew the early Dr Strange books.

The download pack includes: - Key activities scheme, week by week learning activities - All worksheets which are ready to print or use on a whiteboard / projector / interactive whiteboard (the colour theory presentation is interactive)- Visual examples of final outcomes This scheme looks at the work of the graffiti artist Jon Burgerman as inspiration to use the students own imagination when creating unique characters.

Visual artists might help a person create a visual representation of their ideal day at work that they can look to when things aren't going well, or help a whole office create a mural wall that they can add to when new successes coVisual artists might help a person create a visual representation of their ideal day at work that they can look to when things aren't going well, or help a whole office create a mural wall that they can add to when new successes covisual representation of their ideal day at work that they can look to when things aren't going well, or help a whole office create a mural wall that they can add to when new successes come up.

This year marks the 101st anniversary of a turning point in the history of visual art, when Russian artist Kazimir Malevich created his momentous 1915 paintings of black squares on white backgrounds.

Andrews seems to follow no canons of visual selection besides those that originate within his own experience — as an artist who reached maturity when Abstract Expressionism was in its heyday, as a black man in America, plus a good deal of native stubbornness about not just doing what's expected of him.

The relationship between drawing and sculpture is particularly interesting in contemporary art practice; Antony Gormley is one of the most eloquent artists when it comes to articulating ideas that pertain to individual perception, collective needs, intellectual processes, or the applications and development of a visual language to assuage the spiritual or emotional privations of the modern world.

Hockney is a truly popular artist yet also a sensitive and solitary one who has always followed his own visual curiosity, even when it led him back to his native Yorkshire to paint the landscapes of his childhood.

Well, when you look at the early manifestos of abstraction, simply being non-figurative was among the highest values — if something was still at all discernibly based in visual reality, the feeling was that the artist wasn't pure enough.

Even later in his career when he was more celebrated as a visual artist, he was kind of in his life undercutting the stability of that.

Contemporary art values its Deleuze and Guattari but not its Merry Melodies, a curious enigma when artists like Mike Kelley or Raymond Pettibon, who plumbed the depths of so called «low» visual culture, are so revered as innovators.

Depending on when one visits Recapturing Memories of the Black Ark, the current exhibition by the visual artist Gary Simmons at Southern Exposure, one will experience two very different, equally worthwhile shows.

The exhibition will focus on the summer of 1946, when Lawrence (1917 - 2000) was invited to teach painting at Black Mountain College by visual artist and educator Josef Albers (1888 - 1976).

In What I See When I Look at Sound at Perth Institute of Contemporary Arts, curator Leigh Robb has presented five works by artists whose practices collectively traverse the visual, sonic, and performative.

Over 20 contemporary artists show new commissions alongside historic works from international public and private collections including the Art Institute of Chicago and the State Tretyakov Gallery, Moscow — these works roughly correspond to the years examined in the RA show, when all forms of visual art were harnessed for revolutionary purposes.

It evolved and appeared in the open when the Civil Rights Movement empowered these African American artists to let their previously hidden visual arts come out of the woods and cemeteries and be seen in the front yards and along the roads.

Nathlie Provosty is an emerging American visual artist known for her masterfully executed abstract works that can appear aesthetically simple when viewed from a distance, but become more complex upon closer inspection despite the apparent reductivism of her monochromatic color palette.

When I began visiting the twenty - two grantees of the Gaylord & Dorothy Donnelley Foundation, I found myself wanting to create an exhibition that was as inclusive and representative of as many visual art practices and artists as possible.

«He is one of the most influential and important British artists of the past 25 years and his work, both short and long - form, has consistently explored the endurance of humanity even when it is confronted by inhumane cruelty with a poetry and visual style that he has made his own.»

When he and fellow artist, Georges Braque, co-invented Cubism, they instigated a radical rethinking of the traditional visual language of painting.

While Satellite, one of Rauschenberg's earliest Combines, displays many of the visual traits common to the works that occupied the artist from 1954 to 1964, when compared with later efforts such as Canyon (1959), or Monogram from the same year, it is a reserved, diffident work, but no less determined in its explosion of contemporary pictorial conventions.

If you take the older artists in Line — Sol Lewitt, Richard Long, Tom Marioni and Fred Sandback — their visual language is stripped right back; they were working when the dematerialization of the art object was the most important political act for an artist.

Lending support to predominantly African American visual artists in an era when major visibility or opportunities for these artists were rare, the Brockman Gallery played a significant role in supporting and documenting the contributions of black American artists in Los Angeles and beyond, playing a vital part in the city's history.

When you take a step back to observe the energetic paintings of Vancouver - based Canadian visual artist Josh Byer, you can't quite figure out if the swirling, chaotic colours form the basis of his work or whether he plays with monochrome lines and negative space.

Through paintings, costume and set designs, posters, photographs, film clips and theater ephemera this exhibition brings to light an exhilarating but fleeting moment in the cultural history of the Soviet Union when innovative visual artists joined forces with avant - garde playwrights, actors, and theatrical producers.

The direct involvement of visual artists in politics and the social and ethical values of left - wing politics can be traced to the French Revolution, when artists such as Jacques - Louis David granted permission for their artwork to be reproduced to support the Republican cause.

The Academy is honored and thrilled to share the news about Senior Critic Eric Fischl's exciting exhibition: From AmericaNowAndHere.org: «America: Now and Here began when the artist Eric Fischl invited a group of friends and peers, all leading visual artists, musicians, poets, playwrights, and filmmakers, to submit a work of art reflecting their points of view and hopes for America....

These developments begin to point the way toward a possible future when African American artists and other artists of color will be granted equal opportunities to influence the culture through visual art with the full support of institutions.

Each artist has developed their own visual language to communicate their ideas, and when the works are considered together, a motif emerges that reflects the complexities of human experience.

The exhibition includes 35 recently - acquired works from the PJ Carroll Collection, one of the formative influences in the development of the visual arts in Ireland, the PJ Carroll Collection is widely regarded as a pre-eminent collection of Irish art of the 1960s and «70s, providing vital support for many leading artists at a time when general interest in the visual arts was still quite limited.

After treating the undoubtedly political position of the artist in «Hercules» (2007) and the problems related to psychological issues and language in «Horizon Problems» (2011), Agut now proposes a physical and visual experience that brings us closer to the moment zero of artistic creation, the moment when the artist confronts himself with his work and starts to think about it.

might be the question that comes to mind when viewing the work of African - American commercial photographer Barbara DuMetz, whose exhibition, «The Creators: Photographic Images of Literary, Music and Visual Artists,» is on view through July 10 at the Southwest Arts Center in Atlanta.

Since time immemorial, the artist deals with the visual and auditory description of the feeling, which produce images and sounds, «if you will be touched or when you touch someone» (Rist).

There's nothing more powerful than the artist painting what's going on in the world around him and the fact that artists are seen to be as powerful as soldiers, with their paintbrush using a visual type of propaganda, especially when most of the population were illiterate.

1969 0 Objects, 0 Painters, 0 Sculptors, 4 Artists..., Seth Siegelaub at McLendon Building, New York, US One Month Exhibition, Seth Siegelaub Contemporary Art, New York, US Op Losse Schroeven / Situaties en Cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdam, NL (Verborgene Strukuren), Folkwang Museum, Essen, DE When Attitudes Become Form, Live in Your Head, Kunsthalle Bern, Bern, CH; Museum Haus Lange, Krefeld, DE 18» 6» x 6» 9» x 11» 2 1/2» x 47» x 11 3/16» x 29» 8 1/2» x 31» 9 3/16», San Francisco Art Institute, San Francisco, California, US; traveled to Simon Fraser Center for Communication and the Arts, Simon Fraser University, Vancouver, CA No. 7, Art Workers Federation Benefit, organised by Lucy Lippard, Paula Cooper Gallery, New York, US May - June 1969, Center for Communication and the Arts, Simon Fraser University, Vancouver, CA Language III, Dwan Gallery, New York, US July, August, September 1969, Seth Siegelaub Contemporary Art, New York, US Conception, Perception, Eugenia Butler Gallery, Los Angeles, California, US 0 - 9, Issue # 6, New York, US Wall Show - Part 1, Ace Gallery, Los Angeles, California, US When Attitudes Become Form, Institute for Contemporary Art, London, UK Place and Process, Edmonton Art Gallery, Edmonton, CA; Kineticism Press, New York, US 557,087, Seattle Museum of Art, Seattle, Washington D.C., US Prospect 69, Stadtische Kunsthalle Düsseldorf, Düsseldorf, DE Project Class, Nova Scotia College of Art and Design, Halifax, CA Konzeption / Conception, Stadtisches Museum Leverkusen, Schloss Morsbroich, DE Groups, The Visual Arts Gallery, School of Visual Arts, New York, US Pläne und Projekte als Kunst (Plans and Projects as Art), Kunsthalle Bern, Bern, CH Art Without Space, WBAI - FM, New York, US Art in Process IV, Finch College Museum of Art, New York, US Mail Exhibition, Nova Scotia College of Art and Design, Halifax, CA

The artists featured in the exhibition use non-traditional visual media such as video, performance, and photo - installation to push the limits of art production at a time when the concept of a singular culture was under scrutiny.

What: Björk Where: The Museum of Modern Art, New York, NY When: March 8, 2015 to June 7, 2015 Why: This full - scale retrospective will span the entire career of Icelandic singer, songwriter and artist Björk, including sound, film, visuals, instruments, objects, costumes, and performance.

[6] However, the admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s, [7] despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.

With more than fifty painted objects created over 700 years, it is a radical new look at what happens when artists cast aside the colour spectrum and focus on the visual power of black, white, and everything in between.

When I meet the Canadian - born artist, she's not yet sure how to present the piece for the Turner prize exhibition: what will the visual representation of Doug become in the Tate's galleries, apart from a handful of performances from the same team who gave its premiere?

Often when I read the writings of visual artists or writing about visual art I feel the need to go write.

The title of the exhibition refers to the fallout from the moment in an artist's life when, having become so fluent in visual language, their life and practice have become indistinguishable.

My first meeting with visual artist Su - Chen Hung dates back to April 2013, when her latest solo exhibition Ants in the City opened at Intersection for the Arts, a multidisciplinary center for the arts located in San Francisco's South of Market (SoMa) neighborhood.

Through the use of carefully selected fabrics and other found objects, Danish artist Bibi Katholm cuts and manipulates her materials, juxtaposing fabrics and paints to construct a visual montage not unlike a film editor when creating a scene.

The artist gives us visual indications when fragments of surfaces are caught in a fishing net or a cage or objects are exposed to a balancing act.

Before Johns received the award, it was last awarded to a visual artist in 1977 when Alexander Calder was granted the Presidential Medal of Freedom posthumously by president Gerald Ford.

In the works of video artist Douglas Gordon — one of the most important «visual artists» of his generation, awarded with the prestigious Turner Prize in 1996 when he was just 30 years old — the timing of movie narration gets twisted by a new device, that modifies its extension, its message, and the perception of the action it encloses.

This is a moving visual history of a time when young British artists stood shoulder to shoulder with Picasso in a struggle — as they rightly saw it — for the future of humanity.