Sentences with phrase «other traditional artists»

Not exact matches

Established more or less to operate as a traditional chamber of commerce, the organization earned nonprofit status and assembled a board of directors that read like a dream team of local arts and culture: Colon, Logan Square real estate magnate Mark Fishman of M. Fishman & Co., Empty Bottle Presents» Peter Toalson, Chicago Artists» Coalition executive director Carolina Jayaram and others.

In the past, this form of painting was only done on the outer walls of houses but Mahlangu is one of the first artists to transfer these traditional designs to canvas, shoes, sculptures, ceramics and other modern mediums, making her a pioneering Ndebele artist and showing that adapting to change is an essential skill in the art world.

Fall exhibits will include Cowboy Artists of America 49th Annual Sale and Exhibition, Traditional Cowboy Arts Association 16th Annual Exhibition and Sale, Cowboy Crossings, and several other exhibitions and sales.

But I and many of my other author friends treat this professionally and hire a reputable cover artist (mine is used by traditional houses); hire a developmental / content editor AND a copyeditor AND one or more proofreaders (many of whom are from traditional houses and are working on the side); and hire a professional formatter.

Let me succeed or fail like any other artist, not because I choose a path that diverges from the traditional gatekeeping system.

View works by contemporary Ubudian artists as well as traditional schools of art such as Batuan — practiced by Brahman artists — and Sanur, which features highly stylized paintings of sea creatures and other animals.

The art museums, the Neka and Agung Rai, among others, display traditional as well as contemporary work done by not only local but also expatriate artists.

Mitsuda has supervised these artists and others on the traditional RPG scores for the Luminous Arc trilogy, while also serving as a sound producer for diverse projects such as Infinite Loop, Magnetica Twist, Tokyo Yamamoto Boys, and Treasure Report.

One of the few environments where Nara works with other artists, his jars are created at artist residencies and based on traditional Asian ceramic forms.

Although several sculptures employ crackle glaze and other nods to traditional pottery, the works in this exhibition are notable for the wide range of effects achieved with such contemporary materials as epoxy resin, catalyzed polyurethane, and high - gloss automotive paint mixed to the artist's specifications and applied with an airbrush.

The Ghanian artist combines old aluminum and other recycled materials and weaves them into tapestries inspired by West Africa's traditional textiles.

The artists work in a variety of unique and innovative ways; some incorporating a more traditional figurative approach, while others are combining metalpoint with other media to produce striking and unexpected results.

In Golden Arches, the artist has intentionally avoided the use of plastic and other contemporary mass - produced industrial goods, opting instead for such traditional sculpting materials as plaster, bronze and gold.

Academic drawing, representation, and other forms of traditional «craftsmanship» seemed inadequate for an advanced art, which artists in the twentieth century wanted to root in the realm of feelings, sensations, and human experience (which opened the doors to abstraction).

Other featured artists include Feng Yichen, Hang Chunhui, He Weijin, Li Yousong, Liu Qi, Pan Wenxun, Qin Xiuping, Xu Hualing, Zhu Zhengming and contemporary master of traditional ink and wash painting Liu Qinghe.

How important is it for artists today to learn the technical disciplines of life drawing and other traditional modes of academic training?

Other exhibition formats, old and new, have taken their cue from artists» changing modes of creating and presenting work, often intentionally pushing at the limits of what a traditional museum can support.

In keeping with that philosophy, on the lineup (other than a show commemorating a gift) is a retrospective next spring of Louise Lawler, a Conceptual artist who photographs installations of other artists» work but is not in any traditional sense a photographer.

The other was awarded to the Kosovar artist Petrit Halilaj, who exhibited large hanging sculptures of moths crafted out of traditional fabrics from his country.

Please take a look at our website for further details: http://www.momentaart.org/momenta-art-past-projects-2015.html Reviews of our exhibitions or events in a traditional sense are welcome, but we also encourage cross-disciplinary approaches that expand and engage with the themes explored by artists and other participants through our programs, possibly addressing broader socio - political phenomena of the year.

The exhibition includes a couple of my paintings alongside work by ten other artists who are engaged with conceptual content but dedicated to traditional materials — paint, stone, collage.

With the emphasis on creating an intensive working situation in which workshop leaders produce art alongside other participants rather than function as teachers in the traditional art school sense, the Emma Lake Artists» Workshop became the model for a number of other workshops.

Peri, like other female artists working with similar materials, was restricted by the classification of her work as either «traditional woman's work» or «craft».

An innovative hang in the main dining room sees a Neon sign by Tracey Emin juxtaposed with more traditional works by other renowned British artists such as Bridget Riley and Keith Coventry.

Where other traditional artistic mediums require the artist to create the work with their own hand, Van den Dorpel rather programs software and trains it by looping continuous feedback through its output in order to produce works with unpredictable aesthetic outcomes.

Co-curator and art historian John Held, Jr., who performed with Shimamoto and other prominent Mail Art artists in the U.S. and Japan, explains, «Gutai artists» rethinking of venues for exhibition took the display of art outside the «white cube» of traditional showrooms and centered it in the midst of people's lives.»

While the field of social practice has had an increasingly high profile within contemporary art discourse, this book documents artists who have been under - recognized because they do not show in traditional gallery or museum contexts and are often studied by specialists in other disciplines, particularly within the Latin American context.

(VANCOUVER, Wash.)-- Regalia makers, beadwork artists, photographers, painters, sculptors and other American Indian traditional and visual artists living in North Dakota, Minnesota, South Dakota or Wisconsin are invited by the Native Arts and Cultures Foundation (NACF) to apply for an NACF Regional Artist Fellowship by July 10.

With a range of traditional and nontraditional materials, including acrylic and oil paint, ceramic, paper, canvas, carpet, and larvae, as well as varying techniques — from painting, pouring, cutting to burning — the artists employ different degrees of chance, and some more than others.

Phillips is no traditional printmaker, working with print in the broadest sense: often transforming the gallery into a workshop and, with other artists, designers and communities, developing screenprints, textiles, photographs and wall paintings as site - specific installations.

It's hard to characterize the art produced in Bushwick: there are endless studios of artists producing forms of traditional figurative painting while countless others are experimenting with digital images — some older talents but mostly younger ones.

Like other artists whose work is on show here, Joseph is familiar with contexts outside the traditional art world; he has directed several music videos and recently came to public attention for his contributions to Beyoncé's 2016 «visual album» Lemonade.

The five featured artists refer to printmaking processes in their work — some adhering to traditional methods, others straying from conventional...

An exploration of the artist's innovative use of the medium, Frank Stella: Prints reveals the intimate relationships between Stella's prints and his works in other mediums, demonstrating how Stella blasted a hole in the traditional tools and aesthetics of printmaking with works of compelling complexity and beauty.

Cézanne's remark reminds us that Pissarro was not only endowed with the gift of seeing, but with the rarer ability to make other artists see for themselves: Cézanne, Gauguin and von Gogh bear witness to the effectiveness of Pissarro as a teacher, or rather, one whose very presence in the vincinity of the chosen motif might serve as a catalyst, a liberating agent for the act of visual response, freed from both traditional poncif and subjective authority.

In many cases, the works reflect idiosyncratic and unexpected viewpoints, while in others the artists make reference to organized religious doctrine and traditional iconography.

These are just one of the ways in which we endeavour to support up and coming artists from the communities in which we work by offering them a showcase for their work outside of the traditional gallery environment and alongside other artists who have now become household names.

by artists who veered away from the traditional concepts and techniques of painting, sculpture, and other fine arts that had been practiced since the Renaissance (see Renaissance art and architecture).

The exhibition highlights the unusual materials — soil, gunpowder, petroleum jelly, dried ficus leaf, among others — that artists have drawn with and drawn upon, along with diverse applications of the medium's traditional form.

According to Graffuturism, there was an obvious gap in how the media had covered the art form: one side being about the new street art, and the other about traditional graffiti coverage, but no middle ground or coverage of graffiti artists who had pushed forward to explore progressive hybrid directions, or about the newer street artists who worked more like graffiti artists.

This fresh exhibition combines non-Haitian works from the Rodman Collection with loans from private collections and other sources, extending the traditional of focus to include art from various geographies including Jamaica, Africa, Cuba, and a number of works by self - taught artists from Southern U.S.

Contemporary artists manifest broad and sometimes ambivalent responses to technology; in this exhibition diverse works by Anne Wilson, Milos Manetas and others address a fundamental question of modern life, probing Information - Age content through traditional media such as painting and fiber arts.

During the height of his career in the mid «80s, West chose to break the conventions of a traditional «solo show» by offering other — often unknown — artists to exhibit their work alongside his — much to the surprise of the institutions that invited him.

When the most conventional of the Turner Prize shortlisted artists is an installation artist whose work is created in situ by other artists, designers and members of the public, you realise that contemporary art, or certainly the kind represented by this once controversial prize, is leaving traditional media far behind.

She beat competition from the other shortlisted artists: Dexter Dalwood, whose contemporary take on traditional history painting saw him an early bookies» favourite; Angela de la Cruz, whose mangled, dishevelled canvases place her somewhere between painter and sculptor; and the Otolith Group, whose work, often in film, encompasses curating as well as creating.

Taking vast, remote landscapes and the ephemeral conditions of nature as their sculptural canvas, these and other artists staged their own protest by rejecting traditional sculptural forms and practices, rigid modernist theory and the commercial confines of the museum - and - gallery system to create frequently massive land art works that heightened awareness of our relationship with the earth and challenged accepted definitions of art.

Among the highlights will be the social practice artist Theaster Gates singing his own rendition of «God Bless America,» «The Battle Hymn of the Republic» and other traditional patriotic tunes; the filmmaker Arthur Jafa presenting his lauded short movie about racism, «Love Is the Message, the Message Is Death»; the artist Shirin Neshat showing films about violence against women; the composer David Lang performing and also speaking about «danger and honesty in both pop and classical music»; the poet Elizabeth Alexander reading her own work; and the artist Hank Willis Thomas presenting and discussing his film «A Person Is More Important Than Anything Else» (2014) on James Baldwin.

Meanwhile, in parallel to this «traditional» genre of Irish landscape, some Irish artists went abroad - particularly to France - where they joined other European landscape artists in schools at Barbizon, Pont - Aven and Concarneau, as well as St Ives in England, to paint in the Impressionist and Post Impressionist styles, to name but two.

Self - portraits by other artists are also examined, including works by Sarah Lucas, Maud Sulter and Donald Rodney that challenge conventional stereotypes, contrasted with more traditional self - portraits by earlier artists such as David Bomberg and Mark Gertler.

Surrounded by his paintings, prints and collages, Motherwell explored the art of printmaking like no other Abstract Expressionist artist, combining traditional techniques with impromptu drawings and pasted paper.