Sentences with phrase «particular bodies of the artist»

In so doing, the curators hope to underline the specificity and magnitude within particular bodies of the artist's work.

Not exact matches

Thus, they tend to focus on a particular body of work and present the artist's thoughts at a discrete moment in time.

This show features large - scale paintings from the artist's Wrestlers series, which demonstrate Dunham's continued exploration of and fascination with interpretations of the nude body with particular attention to the male form.

The artists are each represented by a particular body of work made in series, demonstrating different approaches to the painting process and using different formats and supports.

Is there something about Pop as a style, as a socio - economic entity, as a particular body of content that made the appearance of a major woman artist within it so difficult?

In selecting these specific pieces from these particular bodies of work within each of the artists» oeuvres and in placing them in dialogue with each other, we hope to create an opportunity to expand our understanding not only of each artist but also of how these artists relate to one another.

Bordowitz's writings stress the ways artists can respond to and intervene in a range of contexts, and how they can use this sensitivity to particular contexts to build coalitions, groups of makers and bodies cutting across demographics to demand real change.

Saul's choice of this particular poem to frame her new body of work speaks to the personal nature of her sculptures — that of the eternal unfolding of an artist.

Yet such commercial interest does not necessarily diminish the critical relevance of an artist or a particular body of work, and Sean Scully is, indeed, a fine painter.

From Claudia Hart's critique of digital technology and the misogyny of gaming and special effects media to Carla Gannis's performance video where the artist competes with her virtual self; from Cynthia Lin's monumental drawings detailing minuscule portions of skin to Laura Splan's mixture of scientific and domestic in molecular garments and Joyce Yu - Jean Lee's challenge of conventional viewing perspectives; from Christopher Baker's examination on participative media to Victoria Vesna's collaborative project on social networking, identity ownership and the idea of a «virtual body» — the show guides the viewer through an array of captivating approaches that challenge not only current media ideologies but also conceptual paradigms underlying today's digital art, the question of disembodiment and post-humanism in particular.

As we met more of the partners involved in particular initiatives we also discovered Ms. Chavchavadze's own body of work as an artist.

Some subjects that Joan Jonas has touched on over her fifty year career (in no particular order): nature, her dog, animism, Japanese Noh theatre, the moon and the sun, insects, masks (metaphorical and literal), ghosts, landscape, Hopi mythology, the female body, the female artist, the nature of presence versus representation, memory, her home in Cape Breton.

In particular, Latina and Latin American women artists in Radical Women defied canonical ideas of art and normative definitions of the body, specifically of the female body.

Hailing from Chester in the North West of England, Perry lives the life of a nomadic artist, having lived for brief periods in Los Angeles, Montreal, Istanbul, Las Vegas and London over the last few years; however, her work (in particular, the sculptures) pays homage to the working class aesthetic of northern England, using aluminium and crushed car parts from an auto body shop to reimagine a world of adolescent joyriding in pimped - out speedsters.

Artists leaving graduate school are in their own particular moment of transition, as they will soon disperse from one dense social body into a wider frame of relations and activity.

Carroll Dunham's exhibition features large - scale paintings from the artist's Wrestlers series, demonstrating her continued exploration of interpretations of the nude body with particular attention to the male form.

On View June 22 - October 14, 2012 at the New Orleans Museum of Art New Orleans, LA — Ralston Crawford and Jazz explores the profound impact of New Orleans» culture, and in particular the city's jazz scene, on artist Ralston Crawford's artistic output in the years after World War II - a significant but lesser known body of... Read More

Two works included in the exhibition attract particular attention — Henry Taylor's painting of Philando Castille, who was killed in his car by police gunfire; and a painting of Emmett Till by Dana Schutz, a white artist, which provoked protests and an international dialogue about who has the right to depict black bodies.

Given women's greater autonomy in general and in sexual matters in particular, it should be payback time, a chance for the woman artist's gaze to linger on the naked male body as a source of esthetic delight and desire.

This work, the artists state, may align in retrospect with feminist ideals, but goes beyond the confines of any particular feminist movement, and can be situated within a greater panorama of artworks founded in a process of self - reflection and an inquiry into the systems that limit the politically or socially prescribed body.

Assaël — who became intrigued by mathematics, physics, and their relation to art while in high school in Rome in the mid -»90s; who, still a teenager, knocked on arte povera artist Jannis Kounellis's door to discuss tragedy and the notion of necessity; who later studied the philosophies of Kant, Hegel, and Heidegger at university; and who now, an artist in her own right, has particular enthusiasm for the work of Bruce Nauman, Gordon Matta - Clark, and Richard Serra — creates inspiring artworks that re-place the body and authentic experience at the center of artistic practice after

Just released, the essays in this volume — all written between 2011 and 2015 — bring together pieces on particular artists and writers such as Picasso, Kiefer and Susan Sontag, as well as extensive considerations of the mind / body problem and essays tackling elusive neurological disorders such as synaesthesia and hysteria, alongside a towering reconsideration of Kierkegaard.

For this exhibition Benedict Drew has brought together an exciting group of contemporary artists working in diverse media with a particular interest in the body's intersection with the object, with machines effect on the physical and how text and speech can unfold scenarios where the world and the body collide.

Each of the artists is particular in the way she materially positions her body in a story, and in its rereading, as in a singular space within an increasingly uniform world.

Kafre's solo exhibition Things, Mereology and Schemes is a new body of work focused on three main topics of particular interest to the artist: (1) Things — the distinction between the natural things, non-natural things and the artifacts that occur between them; (2) Mereology — the philosophical and mathematical study of parts and the wholes they form, and (3) Schemes — a scheme consists of a table's structure, which physical constitution is mainly due to columns, names and variables and the relation between them; used to map out something, or to design the internal of a logical system; the main points of an argument or theory, etcetera.

With a particular focus on the experience of British Muslim women, the exhibition is «an accumulation of several narrative threads drawing together intimate conversations between the artist and her two sisters, ominous animated visions of a metamorphosing body, e-learning training on Prevent and staged, performed gestures.»

Known as one of Wales» most significant contemporary artists, Helen Sear continues to explore sensory ideas and expressions, vision, touch, and the re-presentation of the nature of experience with particular reference to the human and animal body and her immediate environment in rural Wales and France.

In the second series, THE SEVEN DEADLY SINS, Cremean uniquely interprets each sin through the human form, embodying the manifestation of the particular sin; for example in the panel INVIDIA (Envy) the human body is submerged in freezing water and the artist's writings on the panel concludes with «Submerged in suffocating envy, I am frozen in self - pity.»

These recollections, these flickers of memory of seeing a particular artist's work or body of work, are what pushes the conceptual underpinning of his work beyond process and the merely compositional, and how he asks us to ponder our own aesthetic experience.

The latter marked the end of this particular body of work and is considered by the artist to be the most important in the entire series, having been reworked over many years.

With particular attention to the artistic practices of women and LGBTQI artists, Forms & Alterations addresses the body as a creative and contested site in which gender norms are redefined and negotiated through clothing and self - styling.

The present body of work expands the artist's recent use of a near single color palette to include, in particular, a rich red.