Sentences with phrase «on artistic practice in»

The Museum's outstanding Heritage Collection is a cross section of American art, with a special focus on artistic practice in the Brandywine valley.

With the early Arts and Crafts movement and the Bauhaus vision of art integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspective.

Curated by Renaud Proch, Executive Director of Independent Curators International (ICI), the 2014 edition of the program is a reflection on artistic practice in Chicago, and on the intense exchange of ideas that the city generates.

Not exact matches

LOS ANGELES — Insisting that the legal, centuries - long practice of slavery in America could never have limited his personal or artistic ambitions, Kanye West stated Wednesday that if he had been born into captivity, he would have simply escaped the plantation on his motorcycle «the first chance [he] got.»

Volume XVII, Number 1 (Download) The Task of the College of Teachers: Part 2 — Roberto Trostli «Spirit is Never without Matter, Matter Never without Spirit» — Liz Beaven The Artistic Meeting: Creating Space for Spirit — Holly Koteen - Soule Contemplative Practice and Intuition in a Collegial Context — Martyn Rawson Contemplative Work in the College Meeting — Elan Leibner Work of the Research Fellows Review of The Social Animal by David Brooks — Dorit Winter Report on the Online Waldorf Library — Marianne Alsop

The children participate in music, drama and a variety of other artistic activities, practice hands - on skills such as knitting, gardening and woodworking.

From the gut - wrenching, step - by - step chronology of the raid on Osama bin Laden's compound in Abbottabad to seafaring cultists practicing Scientology - like rituals in the wake of World War II to the 16th president twisting arms over the passing of the 13th Amendment, the best films of 2012 brought history to life with an extraordinary scrupulousness that still left room for vivid artistic expression.

Students can also apply their knowledge of numbers in a very practical way, practice their SPANISH spelling, and put their artistic talents to good use at the same time, by creating their own set of question cards on the quiz card template.

Nimah loves creating coloring books as a way to involve others in art and her artistic practice without putting too much pressure on them to be «artists» themselves.»

Using only this humble material, which is ubiquitous to the point of invisibility in everyday life, the artists in The Paper Sculpture Show offer a visually stunning, conceptually rich, and playfully hands - on exploration of artistic practice today.

It opens up new perspectives on an artistic practice that is anchored in stories often excluded from history in and out of Thailand: voices of the poor and ill, marginalized beings, and those silenced and censored for personal and political reasons.

The Breathe Artist in Residence programme offers artists of Chinese descent an ideal environment to reflect on their artistic practice, research and make new work within an international setting.

In 1954, after a stint in Japan during the Korean War, he settled in New York and met artist Robert Rauschenberg, who introduced Johns to John Cage and Merce Cunningham, whose practices would have a strong impact on Johns's artistic developmenIn 1954, after a stint in Japan during the Korean War, he settled in New York and met artist Robert Rauschenberg, who introduced Johns to John Cage and Merce Cunningham, whose practices would have a strong impact on Johns's artistic developmenin Japan during the Korean War, he settled in New York and met artist Robert Rauschenberg, who introduced Johns to John Cage and Merce Cunningham, whose practices would have a strong impact on Johns's artistic developmenin New York and met artist Robert Rauschenberg, who introduced Johns to John Cage and Merce Cunningham, whose practices would have a strong impact on Johns's artistic development.

In her artistic practice, the artist makes herself available both as a protagonist and as a projection in regard to her sociocultural analyses, taking on different roles in the procesIn her artistic practice, the artist makes herself available both as a protagonist and as a projection in regard to her sociocultural analyses, taking on different roles in the procesin regard to her sociocultural analyses, taking on different roles in the procesin the process.

Southern Exposure's nationally recognized Artists in Education (AIE) program brings together diverse youth, artists, schools and organizations to provide meaningful participation in the visual arts, sparking a dialog on contemporary artistic practice and sociopolitical issues.

Tracey Snelling's artistic practice is based on a profound interest in sociological, psychological and geographical occurrences.

Click here to read Bergman's thoughts on her artistic inspiration, creative transition, collaboration and working process, and confidence and self - consciousness in her artistic practice.

Although perfectly relevant today — in that Havard is working now (he will be celebrating his 75th birthday on June 29th) and still very engaged in his artistic practice — Havard somehow turns his paintings into self - conscious relics.

In addition to her prolific artistic practice, she holds the position of Professor of Contemporary Art at the University of Central Lancashire, where she leads the interdisciplinary visual art research project Making Histories Visible, reflecting critically on the success and failures of the Black Arts Movement and participating in numerous conferences on art of the diasporaIn addition to her prolific artistic practice, she holds the position of Professor of Contemporary Art at the University of Central Lancashire, where she leads the interdisciplinary visual art research project Making Histories Visible, reflecting critically on the success and failures of the Black Arts Movement and participating in numerous conferences on art of the diasporain numerous conferences on art of the diasporas.

He positions his artistic practice as a tool for reflection on local realities in crisis, as the contemporary place for critical reflection and creation, and between the edges of progress and dystopia.

Åsmund Thorkildsen, curator of that exhibition, gives an introduction to Sherman's artistic practice based on his in - depth knowledge of the Postmodern period in American art history.

This exhibition at Guggenheim Bilbao focuses on her work when she was living in North Carolina (from 1925 to the late 1970s) and combining her artistic practice with educational work.

A former graphic designer, his recent artistic practice has been focused on reinterpreting and playing with the language of traditional tile design, and that of the Portuguese tin - glazed ceramic azulejo in particular.

Accompanying the exhibition, Shonibare will discuss his exhibition and artistic practice in conversation with BBC Broadcaster and historian David Olusoga at Turner Contemporary on Tuesday 22 March at 6.30 pm.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

Based on the practice of articulation and reinterpretation that has characterised his artistic activity, Add Fuel presents in «Something old, something new, something borrowed» a staging of an intimist nature arranged in a type of idealised and stylised domestic setting — part genuinely cosy, part openly satirical — , that suggests a narrative of decorative contours that aggregates a multiplicity of references, iconographies, and signs which, in one way or another, have contributed towards shaping his personal and artistic identity.

Nearly four decades after Lonidier exhibited his 1977 installation «The Health and Safety Game» at the Whitney, the artist continues to base his artistic practice in community organizing, and to reflect on the relevance of activism and the labor movement to the creation of art.

Object - based art, which grew into a major twentieth - century trend and continues today, took its cue from the ready - made, and Re-Object explores the continuation and transformation of both lines in contemporary artistic practice, via large - format photographs and analytical essays on the artists.

In this lecture, Steffen Krüger will use the works and artistic practice of Alex Israel as springboards into a discussion on digital media culture, social networking, self - valorisation and identity.

on critical and timely issues in artistic and curatorial practice.

Accompanying the exhibition, Wylie will discuss her exhibition and artistic practice in conversation with Telegraph art critic Alastair Sooke at Turner Contemporary on Saturday 20 February at 2.30 pm.

On Sunday, December 7th, Joseph Kosuth will take part in a panel discussion on artistic practice and the artist as curatoOn Sunday, December 7th, Joseph Kosuth will take part in a panel discussion on artistic practice and the artist as curatoon artistic practice and the artist as curator.

Particularly important to the new generations of artists in Russia, V - A-C's focus is on practically supporting and expanding the platform for home - grown talent, challenging artists to experience, engage with and interrogate international cultural practices whilst developing an authentic and autonomous artistic language.

Crimps Memoirs serve as the departure point for an exhibition that Christopher Müller organized — in close collaboration with Crimp himself — and that unfolds Crimp's perspective on a half century of mutual exchange and tension between artistic and subcultural practices.

More recently, he has continued to attract international attention though his lectures and essays on contemporary dance and on the artistic practices that emerged in the New York Underground scene of the 1960s, mainly the work of Jack Smith, Ronald Tavel and Andy Warhol (e.g. «Our Kind of Movie»: The Films of Andy Warhol, 2012)

In this exhibition, I hope to highlight aspects of his artistic practice as well as his professional career as a university professor and its impact on several generations of artists, curators and writers from Nigeria, West Africa and across the continent.»

Her drawings on mylar and paper in diverse wet and dry materials have long been at the root of her artistic practice, serving as a means to map the development of her thinking.

More recently, his interest in Buddhist meditation has made its way into his artistic practice, and he focuses on making «wearable fiber sculptures» that are associated with rituals.

Astute at locating and engaging the dynamic fountainhead of artistic practice relevant to time and place, in one installation, Ferrer nurtures a powerful tributary of faces rendered on paper bags in crayon, pencil, paint and collage: an extant, sui generis body of work that the artist has cultivated since 1972.

In the dramatically diverse and wide range of forms adopted in Hiller's artistic practice over the last 40 years, there emerges a persistent and inventively tenacious attempt to illuminate the workings and implications of the imagination in collective consciousness, consistently on the tight - rope and threshold between fantasy and believabilitIn the dramatically diverse and wide range of forms adopted in Hiller's artistic practice over the last 40 years, there emerges a persistent and inventively tenacious attempt to illuminate the workings and implications of the imagination in collective consciousness, consistently on the tight - rope and threshold between fantasy and believabilitin Hiller's artistic practice over the last 40 years, there emerges a persistent and inventively tenacious attempt to illuminate the workings and implications of the imagination in collective consciousness, consistently on the tight - rope and threshold between fantasy and believabilitin collective consciousness, consistently on the tight - rope and threshold between fantasy and believability.

Lectures, tours, performances and hands - on activities provide insight into artistic practices that were initiated in the past but continue to influence and inform the present.

As part of the exhibition opening, several artists featured in After Darkness: Southeast Asian Art in the Wake of History — FX Harsono, Nge Lay, and Tuan Andrew Nguyen — come together for a thought - provoking discussion on their experiences navigating dramatic and often dangerous sociopolitical upheavals, and the profound effect these experiences have had on their artistic practices.

Bassist, composer, and Pew Fellow Jymie Merritt discusses the early influence of Duke Ellington on his artistic practice, his interest in digital composition tools, and more.

I remember a brief repartee between Nato Thompson, Creative Time's curator of social engagement public art projects, and Atlanta critic Jerry Cullum at the Contemporary a few years ago on the importance (or unimportance) of contemplative solitude in a painter's artistic practice.

In 1928 he purchased a Model T and, emulating the commercial and artistic practice of the Taos School, embarked on a fifteen - month long outback painting tour.

Article by Alison Hugill, Photos by Ériver Hijano in Berlin / / Nov. 24, 2015 Susanna Hertrich's artistic practice occupies a privileged position as both interpreter and active participant in the otherwise largely... [read on]

It is a question the composer George Lewis asks, via Foucault, in his keynote essay for our Questions of Practice series on co-authorship in artistic pPractice series on co-authorship in artistic practicepractice.

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

His more recent works, which include print making, painting and installations, still draw on this theme of everyday objects and their changing nature in society and artistic practice, using their pre-defined contextual symbolism as a way to make an audience re-think what we see, and what we know.

It maps out current active agencies that gentrify the city and zooms in on artistic practices that expose and shape forms of social, ecological and economic activation and de-activation of urban space.