Sentences with phrase «other contemporary images»

Referencing these artists and other contemporary images in their entirety or by isolating specific elements, her paintings follow an iterative process of drawing and re-drawing, as an exercise in internalizing pictorial systems.

Incredible architecture, wonderful grounds high atop the city, and amazing carvings all over it, including sculptures of Darth Vader and other contemporary images.

Not exact matches

A constructive image of evangelizing requires a review of contemporary methods like revivalism and mission, and leads to the concept of the Christian, whether minister or layman, encountering others, whether as individuals or in a group, in a discussion of their expressed needs, and depends more on attitudes than techniques.

In seeking to develop a theology of nature, process theologians are supportive of endeavors to appropriate other images from the tradition, such as St. Francis» compassionate love for the poor and treatment of animals as sisters and brothers, the Orthodox view of the church as inclusive of all of creation, and the use of the elements of bread and wine in the Eucharist, products of the interworkings between God, the non-human natural world, and human labor, that speak, to contemporary needs.

Deola's journey is as much about evading others» expectations to get to the heart of her frustration as it is about exposing the differences between foreign images of Africa and the realities of contemporary Nigerian life.

Girls Will Be Girls: Raising Confident and Courageous Daughters by JoAnn Deak, Ph. D. (Hyperion, $ 23.95, 320 pages, ISBN 078686768X) deals with overcoming the obstacles particular to girls as they struggle with body image, self - esteem, intellectual and physical growth and other issues while getting mixed messages from contemporary culture.

Filled with Amy Tan's signature «idiosyncratic, sympathetic characters, haunting images, historical complexity, significant contemporary themes, and suspenseful mystery» (Los Angeles Times), Saving Fish from Drowning seduces the reader with a façade of Buddhist illusions, magician's tricks, and light comedy, even as the absurd and picaresque spiral into a gripping morality tale about the consequences of intentions - both good and bad - and about the shared responsibility that individuals must accept for the actions of others.

(The image above is a contemporary parody of John Law's scheme, whereby Law eats gold... and paper fiat currency comes out the other end.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Exhibitions include A Study in Midwestern Appropriation, The Hyde Park Center, Chicago, IL, curated by Michelle Grabner; Decade: Contemporary Collection 2002 - 2012, Albright - Knox Art Gallery, Buffalo, NY; 2010, Whitney Biennial, curated by Francesco Bonami and Gary Carrion - Murayari, Whitney Museum of American Art, NY (2010); and Gerhard Richter and the Disappearance of the Image in Contemporary Art, Centro di Cultura Contemporanea Strozzina, Palazzo Strozzi, Florence, Italy (2010), among others.

BOOKSHELF Published to coincide with the exhibition, «Speaking of People: Ebony, Jet and Contemporary Art» features full - color images and contributions from Studio Museum in Harlem Director Thelma Golden, curator Lauren Haynes, and artist Hank Willis Thomas, among others.

«Dans la nuit, des images» includes some 140 works, representing 10 years of contemporary creation from the 27 European Union member states and numerous other countries.

Muholi's images are on view in the museum's «Contemporary Art / South Africa» (May 9 — Sept. 14) exhibition and also appeared recently in «Public Intimacy: Art and Other Public Acts in South Africa» at the Yerba Buena Arts Center in San Francisco.

He organized award - winning exhibitions and publications including solo presentations by Lynda Benglis, Judith Godwin, Jane Hammond, Joseph Marioni, Rashaad Newsome, Chuck Ramirez, and Sandy Skoglund, among other artists, as well as American Art Since 1945: In a New Light; New Image Sculpture; Andy Warhol: Fame and Misfortune; Beauty Reigns: A Baroque Sensibility in Recent Painting; Made in Germany: Contemporary Art from the Rubell Family Collection; Telling Tales: Contemporary Narrative Photography, and Something to Say: The McNay Presents 100 Years of African American Art.

The global media almost never depict contemporary Africans in ordinary situations; images of crisis frequently eclipse other representations.

Other main group exhibitions include The King and the Mockingbird, Vermillion Sands, Copenhagen, Denmark, 2016; Yinchuan Biennale 2016 — For an Image, Faster Than Light, Museum of Contemporary Art Yinchuan, Ningxia, China, 2016; SHE — International Women Artists Exhibition, Long Museum, Shanghai, China, 2016; Tutorials, Pino Pascali Foundation Museum, Polignano, Italy, 2016; Bentu, Chinese Artists in A Time of Turbulence and Transformation, Foundation Louis Vuitton, Paris, 2016; Unordinary Space, Aurora Museum, Shanghai, 2015; CAFAM Future, Central Academy of Fine Art Museum, Beijing, 2015; Now You See, Whitebox Art Center, New York, 2014; 7th Shenzhen Sculpture Biennale, OCT - Contemporary Art Terminal, Shenzhen, 2012; stillspotting nyc, Solomon R. Guggenheim Museum, New York, among others.

Can the 2015 Armory Show, the Independent, Pulse, Moving Image, NADA, the Governors Island Arts Fair, and other fairs see past contemporary art to history?

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

Can the 2015 Armory Show, the Independent, Pulse, Moving Image, NADA, the Governors Island Arts Fair, the Governors Island Arts Fair, and other fairs see past contemporary art to history?

ROM Contemporary Culture to present Isaac Julien: Other Destinies Julien's work presented in Toronto in partnership with OCAD University and The Images Festival.

Julieta Aranda's work has been exhibited internationally in venues such as (selection): The Kitchen (NY), 10th Lyon Biennial, Solomon Guggenheim Museum, NY (upcoming solo presentation, 2009), Conspire: Transmediale08, Berlin (2008); Present Future, Artissima, Torinno (2007); Escultura Social, Museum of Contemporary Art in Chicago (2007); 2nd Moscow Biennial (2007) System Error, Palazzo delle Papesse, Siena, Italy (2007), Dictionary of War, Muffathalle, Munich, Germany (2006), Trial Ballons, MUSAC, Spain (2006), An Image Bank for Everyday Revolutionary Life, REDCAT, Los Angeles, (2006), Museo Carrillo Gil, Mexico City (2009 / 2006), Version 6.0, Espace Paul Ricard, Paris, France (2005); IX Baltic Triennial, Contemporary Art Center (CAC), Vilnius, Lithuania / Institute of Contemporary Art (ICA), London, England (2005); Moderna Galerija, Museum of Modern Art, Ljubljana, Slovenia, (2004); Centro Nacional de las Artes, México City (2004); «ev + a, Imagine Limerick», Limerick, Ireland (2004), Canaia, Mexico City, Mexico (2003); Platform Garanti, Istanbul, Turkey (2003), and VII Havanna Biennial; amongst others.

Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat — the first image ever transmitted on TV — inhabit an «enchanted landscape» created in Nottingham Contemporary's galleries, where objects seem to be communicating with each other contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat — the first image ever transmitted on TV — inhabit an «enchanted landscape» created in Nottingham Contemporary's galleries, where objects seem to be communicating with each other Contemporary's galleries, where objects seem to be communicating with each other and with us.

For this special presentation, Aitken and Vergne discuss Aitken's uniquely immersive aesthetic; the work's relationship to 20th - century avant - garde art, cinema, and experimental music; the nature of creativity in the 21st century; the possibilities for artmaking within our ever - mobile, ever - changing, image - based contemporary world; and other ideas central to the artist and the exhibition.

His series Whitewashed looks at how contemporary Western culture interprets Oriental tradition from its own perspective, and speaks to the phenomenon of transforming, reproducing, and consuming those original images to fit other public and social tastes.

This work is related to other works like Condition 1 and Condition 2 of 2012, in which Zheng adds to his repertoire of mark making techniques and image sources by reaching into folk traditions that are fading from the contemporary Chinese consciousness.

Then we will turn to the beginnings of film and move through video to contemporary moving image technologies used by artists including Philippe Parreno, Trisha Baga, and Josiah McElheny, among others.

His passion for writing and art led to his creation of the publication ART NOW New York in 1969 that featured images and stories of then current work of Jasper Johns, Brice Marden, Louise Bourgeois, Robert Smithson and other contemporary artists.

Night Work brings together not only the seven Mapplethorpe images chosen by Scissor Sisters, but also other work by the artist, and the band's selection of works by major contemporary artists who have admired or been influenced by Mapplethorpe's aesthetic and attitude: Matthew Barney, Tom Burr, Dan Fischer, Neil Gall, Paul Lee, Glenn Ligon, Oswaldo Macia, Jack Pierson, Marc Swanson, Scott Treleaven, Banks Violette, and Gillian Wearing.

Unlike any other contemporary artistic oeuvre, he formulates specific images for a world that is increasingly being ruled by the flow of information and electronic communications, and connects this visualization simultaneously to the physical experience of placelessness and disorientationmore

Brambilla has had exhibitions at institutions including the Santa Monica Museum of Art, the Nevada Art Museum, the New Museum of Contemporary Art, the Museum of the Moving Image, and the San Francisco Museum of Modern Art, among many others.

Jiang uses video, painting, photography, installation, writing and other mediums, blurring the boundaries between fictional documentary, mediated images and private narratives to reveal the intersections and segmentations between the body, desire and emotion of different individual and its representation or imagination in contemporary society.

The installation's sound structure is as immersive as its sequenced images, with contributions from, among others, London - based musician Jah Wobble and the Chinese Dub Orchestra, and an original score by Spanish contemporary classical composer Maria de Alvear.

The museum also regularly partners with other leading art institutions to co-curate and produce exhibitions, such as the collaboration with Deutsche Bank and the Yokohama Museum of Art for Still Moving: A Triple Bill on the Image; Museum of Contemporary Art Tokyo for Trans - Cool TOKYO (highlighting works by Japanese artists such as Yayoi Kusama and Yasumasa Morimura); and Video, An Art, A History with the Pompidou Center (Bill Viola, Jean - Luc Godard, Bruce Nauman).

It's equally difficult to imagine the works by contemporary artists like Lisa Yuskavage, John Currin, and others, without the foundation of images laid by Rockwell.

Some of them transpose images from photographs of contemporary events; others recreate significant paintings from the history of art, using x-rays to excavate the artist's process.

Th exhibition features work by the Lensbased class of Hito Steyerl, including Pauline Niedermayer, Bruno Siegrist and Till Wittwer among others, and follows ideas of anarchic images in the digital era, their circulation and representation and the «activist potential of the image in a contemporary discourse of hyper circulation».

Other Voices on Gender as part of the Summer of Photography, Bozar, Brussels (2014); Gideon Mendel: Drowning World, Tiwani Contemporary, London (2013); 10th Dak» Art: Biennale of Contemporary African Art, Musée de l'IFAN et Galerie Nationale, Dakar (2012); Photoquai - Biennial of World Images, artistic director Françoise Huguier, Musée du Quai Branly, Paris (2011).

Referencing the minimalism of Frank Stella, Donald Judd and Dan Flavin, Loesch draws on a personal and professional archive of more than 24,000 contemporary images and texts, scanned from newspapers; art, fashion and lifestyle magazines; playing cards, banknotes, logos and other ephemera, and physically pastes them across ten, twenty or sometimes fifty or more individual aluminium rods.

While her contemporaries staged the relations between painting and photography, Sillman chose instead to look at other mass media forms of image making, selecting the diagram as her lever to open the historical nature of painting to the present.

He's been included in several important international exhibitions including 10,000 Lives: The Eighth Gwangju Biennale, Gwangju (2010); Moving Images: Artists & Video / Film, Museum Ludwig, Cologne, Germany (2010); Playing Homage, Contemporary Art Gallery, Vancouver (2009); Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Istanbul Biennial, 9th Istanbul Biennial, Istanbul (2005); Manifesta 5, European Biennial of Contemporary Art, San Sebastian (2004); Institute of Contemporary Art, London (1999), among others.

10, No. 5, September / October 2011 «Prologue» (co-author: Josh Thorpe), Gordon Lebredt: Nonworks 1975 - 2008, (Centre for Contemporary Canadian Art: Toronto / Plug In Editions: Winnipeg), 2011 «And Other Essays,» C Magazine C105, Spring 2010 «Tris Vonna - Michell,» Art Papers 34:01, January / February 2010 «Yam Lau's Hutong House As I Imagine It,» (Yuanfen Media Art Space: Beijing), 2009 «The Reproduction of Space,» Space, WIDEN (Workshop for Inter-Discipline Novelty and Exchange), University of Toronto, April 2009 «Towards Infinity But Not Infinite,» Dynamic Encounters Panel, Universities of Art Association of Canada Conference, 2008 «Living the Image: Looking at Yam Lau's ScapeLand II,» The Fillip Review 8, 2008 «The Possibility of Art: Adorno and the Politics of Aesthetics,» Re-Thinking the Frankfurt School Graduate Conference, York University, 2007

book She, A Blueprint (BlazeVOX, 2011) with poetry by Michelle Naka Pierce is a text / image collaboration; her other publications include Inquiring Mind, Shambhala Times, Not Enough Night, Sous Rature, Foursquare, and Mandorla exhibitions include Mizel Museum, Denver; Boulder Museum of Contemporary Art; Virginia Tech, Perspective Gallery; Leady Art Center, Kansas City; Beacon Street Gallery, Chicago; and University of Notre Dame Isis Gallery

ARTPROJX is a leading brand that screens, curates and promotes artists» moving image and other art projects, working with leading international contemporary art galleries, art fairs, institutes and artists.

CH: Alice Neel did her self - portrait at age 80, and yet, I can't think of many other images of nude old women in contemporary art.

This work, which was shown again to the public in 2013 after being rediscovered by gallerist Maxwell Graham, among a few others, is familiar to those who know his graphic image and text pairings within a contemporary context, though not as historical markers.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

Two works by pioneering video artist Nam Jun Paik, one a robotic sculptural installation including various screens, the other a subtle video manipulating images of The Beatles, fail to captivate when set amongst the work of the other more contemporary artists who seem to whiz and bang comparatively.

Imagining the Political Subject», Secession, Wien 2013 «I knOw yoU», IMMA — Irish Museum of Modern Art, Dublin 2013 «The Butterfly Image», Mudam, Luxembourg 2013 «Only here», Art and Exhibition Hall of the Federal Republic of Germany, Bonn 2012 «Reactivation», 9th Shanghai Biennial, Shanghai 2012 «CARA DOMANI opere dalla Collezione Ernesto Esposito», MAMbo, Bologna 2012 «Storytelling as Craft», Kentucky Museum of Art and Craft, Louisville 2012 «Ephemeropterae», TBA21 Augarten, Vienna (performance) 2012 «Swans, Amputees», Fondation Cartier, Paris (performance) 2012 «Searching for the fountain», Moderna Museet, Stockholm 2012 «Soundworks», ICA, London 2012 «Setting the Scene», Tate Modern, London 2012 «OEI / Letterism», Moderna Museet, Stockholm (performance) 2012 «Descriptive Acts», San Francisco MOMA, San Francisco 2012 «enfolds: books I & II», Mount Analogue, Stockholm 2012 «Never odd or even», Museum of Contemporary Art, Roskilde (performance) 2011 «Balustrade: endless tapes», Milliken Gallery, Stockholm 2011 Fotofestival 4, Mannheim, Ludwigshafen, Heidelberg 2011 «Folk Variations», Radar, Loughborough (performance) 2011 «The Other Tradition», Wiels, Brussels 2011 «La Casa Encendida», Madrid (performance) 2011 «Subtext Part II», Un Projects, Melbourne 2011 «British Art Show 7: In the Days of the Comet», touring; Nottingham Contemporary, Hayward Gallery, London, Glasgow Centre for Contemporary Art, and Plymouth Arts Centre 2010 «New Frankfurt Internationals», Frankfurter Kunstverein, Frankfurt 2010 FRAC Champagne - Ardenne, Troyes 2010 «Fun Palace», Centre Pompidou, Paris 2010 «Manifesta 8», Murcia, Spain 2010 «Exhibition, Exhibition», Castello di Rivoli Museo d'Arte Contemporanea, Rivoli 2010 «Performance», Museo Marino Marini, Florence (performance) 2010 «Balustrade», Julia Stoschek Foundation, Dusseldorf (performance) 2010 «Haunted: Contemporary Photography / Video / Performance», Guggenheim Museum, New York (performance) 2010 «Finding Chopin», performance Witte de With, Center for Contemporary Art, Rotterdam (performance) 2010 «NineteenEightyFour», Austrian Cultural Forum, New York 2010 «ACT VII: Of Facts and Fables», Witte de With, Center for Contemporary Art, Rotterdam 2010 «Leipzig Calendar Works», Project Kaufhaus Joske, Leipzig (performance) 2010 «A Performance Cycle», Nomas Foundation, Rome (performance) 2009 «Lecture Performance», Cologne Kunstverein, Cologne (performance) 2009 «Accecare l'ascolto / Aveugler l'ecoute / Blinding the ears», Artissima, Turin (performance) 2009 «5 × 5 Castello 09», Espai d'art contemporani de Castello EACC, Valencia 2009 «This World & Nearer Ones», Creative Time, New York (performance) 2009 «Ars viva 08/09.

Another trend that has widened the definition and scope of contemporary art has been the conceptually driven use of both photography and language as the substance of numerous works of art — in Kiefer's photographic collages, in Kruger's words and photographic images, in Bruce Nauman's neon phrases, in Lawrence Weiner's painted words, in Holzer's billboarded, carved, electronically reproduced, or otherwise created linguistic neotruisms, and in many other artists» works.

~ Federico Garcia Lorca By Gary Brewer To converse with history and use images from iconic paintings that set the stage for a contemporary expression of «Vanitas», these and other...