Sentences with phrase «original collective work»

Viewed «globally», these databases are compilations of individual articles presented outside of the context of the original collective work from where they originated.

Not exact matches

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In «Rereading Stephen King,» The Guardian acknowledged that the novel is often listed among King's Top Ten works, «It's early King, when (collective wisdom has it) he was still writing exciting, original novels, playing in the ballparks of horror - SF that his diehard early readers love.»

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From the breathtaking views at Lake Sherwood to the original performance work at Trillium Performing Arts Collective, there is so much to experience during your visit.

Uppercut Games» collective CV boasts work on third - person exploration game Submerged, Mech brawler Epoch and Irrational's original BioShock.

To mark the milestone, Williams is curating a spring exhibition at Kavi Gupta featuring his work with the other four original members of the collective — Jeff Donaldson (1932 - 2004), Wadsworth and Jae Jarrell, and Barbara Jones - Hogu (1938 - 2017).

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Like Smithson's mid -»60s «site and non-site» works, the Dig installations function as fragments of the original site, as evidence of the process of unearthing, as pointers to a collective local memory and as reminders of the structures of aesthetic and social taxonomy and of the museum itself.

The exhibition brings together a range of practitioners, some with a longstanding commitment to activism — such as Nancy Brooks Brody, an original member of the collective fierce pussy, and Vaginal Davis, who has long critiqued systematic oppression tied to gender, race, class, and sexuality — alongside emerging artists such as Sable Elyse Smith, Paul Mpagi Sepuya, and Chris E. Vargas, whose works variously plumb mechanisms of regulation.

A juried exhibition of original work in a variety of media by 95 artists exploring the idea of «wide open» in all the hidden niches of our collective psyche, selected by Carmen Hermo, the Brooklyn Museum's Assistant Curator for the Elizabeth A. Sackler Center for Feminist Art.

While touching on Smith's original work on Peruvian land reform and tactics of peasant rebellion, Sworn's installation focussed on the legibility of photographs and how they are narrated through collective discussion.

The exhibition brings together a range of practitioners, some with a longstanding commitment to activism — such as Nancy Brooks Brody, an original member of the collective Fierce Pussy, and Vaginal Davis, who has long critiqued systematic oppression tied to gender, race, class, and sexuality — alongside emerging artists such as Sable Elyse Smith, Paul Mpagi Sepuya, and Chris Vargas, whose works variously plumb mechanisms of regulation.

This transformation from «realistic» image to «allegoric» image, accompanied by narrative text, is successful in creating work that not only resembles the original photograph in appearance, but also completely reconstitutes the collective myth or history we can take from it.

Artist Rochelle Fabb recalls of her time as a member of the Crazyspace curatorial collective, «The only rule I knew of was that you could do whatever you wanted, as long as you returned the space to its original condition when your creative work was finished.»

Perpetuating a tradition started just last year, the space will also play host to a site - specific roller disco installation (last year saw artist collective Assume Vivid Astro Focus create a similar neo-disco rink), where skaters can dance in the kaleidoscopic reflections to a soundtrack provided by DJ, singer and producer Henri, known for her original productions and work with psychedelic krautrock band Thrillionaire.

Rupert allowed me to begin the process of a long - term curatorial project with the four original core members of New York - based collective Fierce Pussy (Nancy Brooks Brody, Joy Episalla, Zoe Leonard, Carrie Yamaoka), focusing on the movement towards abstraction in their individual practices in photography, video, drawing, painting, sculpture, and installation and the necessity of abstraction vis à vis their political collective work.

Some works incorporate stylistic devices and subject matters that seem dated, passé or quasi-extinct; others capture traumatic moments of the historical past; some are recreations of previous works, creating the sensation that they are pursued by a lost or distant original; there are ghostly images and morbid symbols of the past as ruins and apocalyptic landscapes; and, finally, there are creations that analyze the role that archives play in collective memory and personal obsession.

While touching on Smith's original work on Peruvian land reform and tactics of peasant rebellion, Sworn's installation focused on the legibility of photographs and how they are narrated through collective discussion.

The court determined that «if the disputed periodicals manifest an original selection or arrangement of materials, and if that originality is preserved electronically, then the electronic reproductions can be deemed permissible revisions of the publisher defendants» collective works.