Sentences with phrase «performances as artistic practices»

The confluence of identity issues and contemporary life concerns are what have made performance as an artistic practice immensely relevant for them as they explore the binary complexity of their identity and address new agendas, completely unrestrained by tradition and convention.

Not exact matches

Eschewing the accepted hierarchy of artistic forms — painting, drawing, and sculpture — as well as an art market dependent on the production of objects, artists embraced performance as a transgressive practice.

LAND supports dynamic and unconventional artistic practices using a tripartite approach: Commissioning public projects of site - and situation - specific works with national and international contemporary artists Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities Offering additional programs such as performances, workshops, residencies, discussions, and publications LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large - scale, multi-artist, multi-site exhibitions and single - site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists

Gilmore's current artistic practice includes the orchestration of large - scale installations and live public performances that use the female body as a site for the articulation of identity, labor, and endurance.

Gates's practice embraces a wide range of disciplines and a variety of artistic vocabularies — sculpture, painting, installation art, music and performance — as well as urban development and social practice.

The artists here all do double duty as drag queens, musicians or designers, and the line between «artistic studio practice» and drag is blurred by their social practices and performance work.

The free event and three - day programme, founded and run by artists, features exhibitions, performances, publications, screenings, workshops and seminars — as well as one - day symposium — responds to the increasingly nomadic nature of artists and artistic practice, questioning «how we live together in a global community».

But in the hands of curator Boris Groys the proposition turns ambiguous... «Specters,» as conceived by Groys, explores Russian «post-conceptual realism,» an artistic practice in which artists shift attention from isolated art objects and performances to their social and political context.

The history of performance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tperformance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Performance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art Since 1960 (1998) by Roselee Goldberg, and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art 1909 to the Present.

Ironically, given the rich history of performance and its prevalence in black artistic practices since the 1960s, this tradition has largely gone unexamined save for a handful of publications including the exhibition catalogue Art as a Verb (1988) by Leslie King Hammond and Lowery Stokes Sims.

Beginning with the New York School and subsequently considering Pop, Minimalism, Conceptualism, Process Art, Graffiti, Performance, and Installation, drawing has persevered as a necessary artistic practice and has, through the variety of difference inherent in postmodern aesthetics, developed into a vital, autonomous art form in itself.

Cecilia Biagini (Buenos Aires, Argentina) started her artistic practice in the early 1980's, and has been involved as painter, photographer and sculptor alongside as an actress in films, theater productions and performance pieces.

Since the Club 57 era, Scharf has vehemently pursued an artistic practice that's consistently characterized as pop, surrealist, imaginative, and a bit loopy — though it spans street art, painting on canvas, video / performance, and installation.

Imagining artistic practice as a sedimentary process of material and social transformation (akin to a trash heap or scrap yard), Alli works in installation, performance, image - making and visual research to rummage in the aesthetics of precarity, collapse, and by extension, the vast formlessness of the Earth's ocean gyres.

Along her artistic practice exploring female subjectivity through photo and video works, she is the founding director of Franklin Furnace, an artist - run space founded in 1976 supporting the exploration, promotion, and preservation of artist books, temporary installation, performance art, as well as online works.

Founded in Beirut in 1993, Ashkal Alwan is committed to the production, research, and circulation of contemporary artistic and intellectual practices, through initiatives such as Home Works: A Forum on Cultural Practices (2002), a multidisciplinary platform bringing together artists, writers, thinkers, filmmakers, and choreographers, for a public program of exhibitions, panel discussions, film screenings, and performances, as well as the Home Workspace Program (2011), an annual tuition - free art - study program.

What is the relationship between Social Practice and other art practices that have long historical and theoretical trajectories such as conceptualism, performance, institutional critique and the wide range of artistic engagements with art and politics?

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

As one of the leading figures in American postwar art, Burden's varied artistic practice spanned performance and sculptural work, often blurring the lines between them.

Numerous scholars have explored the history of performance art as a manifestation of radical shifts in social thought and artistic practice, but only a small handful of publications have specifically focused on black performance art.

With her father, Artist Maung Maung Thein (Pathein), as her art teacher and a mentor, Chaw Ei's artistic practice has developed diversely and highly regarded as a painter and a performance artist.

I understand collaboration, teaching and curating as part of my artistic practice which is centered around performance, mediated performance and installation.

The history of performance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Out of Actions: Between Performance and the Object 1949 - 1979 by Paul Schimmel, Greenwich Village 1963: Avant - Garde Performance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to tperformance art as a manifestation of radical shifts in social thought and artistic practice is well documented in publications like Out of Actions: Between Performance and the Object 1949 - 1979 by Paul Schimmel, Greenwich Village 1963: Avant - Garde Performance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to tPerformance and the Object 1949 - 1979 by Paul Schimmel, Greenwich Village 1963: Avant - Garde Performance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to tPerformance and the Effervescent Body by Sally Banes, as well as Performance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art Since 1960 (1998) by RoseLee Goldberg and her seminal book from 1979, Performance: Live Art 1909 to tPerformance: Live Art 1909 to the Present.

As a cross-disciplinary artist, Gates» expresses his meaningful and empowering works through an array of artistic practices including painting, sculpture, audio, and performance art.The title of the exhibition references The Souls of Black Folk by W.E.B. Du Bois», a publication considered among the most important work in African American literary history and sociology.

Within her artistic practice, using sculpture, sound, site - specific installation and performance, LaFleur further unpacks ideas around trauma, which have arisen as a result of audience engagement through AFROTOPIA.

Following her speech titled «Cultural Subversion as Artistic Practice,» Amin's lecture performance with the same title was screened.

Three main areas are explored for this edition; the use of live performance as central to artistic practice in African art and culture, the intersection of architecture and performance, and the hundred - year legacy of Dada.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

In his artistic practice, Pedro Gómez - Egaña creates sculptures, 3D installations, phonographic works, and films, and also uses mediums such as performance, text and voice.

2Q: For the event for this Exhibition we had an event with performances by your band and other bands you invited, do you see Ravioli Me Away as an extension of your artistic practice?

Similar to many artists who later found their true voices in relatively more alternative mediums, New York performance legend Allan Kaprow began his artistic practice as a painter, studying at the famed Hans Hoffman School of Fine Arts under the German Abstract - Expressionist who heavily influenced his work on canvas.

With her father, Artist Maung Maung Thein (Pathein), as her art teacher and a mentor, Chaw Ei's artistic practice has developed in diverse ways, becoming a highly regarded painter and performance artist.

Transcending the physical limitations of space and material, he has employed radio waves as medium, and performance, installation, and attempted telepathy as technique, challenging what would be accepted as «typical» artistic practice or experience.

All of them take the performance of their everyday artistic practice as a time - based and context - specific act as the start point, and in some cases end point, of their work.

Since the early 1990s, Song's artistic practice has focused on video, installation, performance, photography, and theatre, as well as curating contemporary art exhibitions.

At that time, Celant gathered together artists sharing a desire to abandon traditional painting as an art form, who wished to create objects / sculptures and to question artistic practices through actions and performances.

In addition to her artistic practice, Gingrow has participated in numerous panel discussions, fundraisers, speaking engagements, and as a guest artist for performances around the U.S..

Despite being better known as a writer, Kilomba has been exploring experimental and multidisciplinary artistic practices, using and combining different means of expression: from performance and video installation, to stage readings and lectures, enabling an interface between text and image, artistic language and academic language.

Artists Chuck Carbia, SCAD foundation studies professor, and Jaimie Warren don the alter ego as versions of iconic public figures or characters, and base their artistic practices in performance.

I'm wondering if this concern is specific to your artistic practice as a performance artist, or something you consider part of the visual language of performance art in general?

Margolles, who began her career as an artist with the collective SEMEFO (from the Spanish acronym for Forensic Medical Service), has taken the subject of death as her principal subject since the beginning of her artistic practice in the 1980s, which combines visual arts and performance.

Performance has become such a catchword in contemporary art circles, as artists and critics alike seek to characterize the current shifts in production toward acting out or interacting with audiences — frequently in order to intersect artistic practice with political agency and redefinitions of protest — that I ought to have entered Tate Modern's «The World as a Stage» with ears prickling and eyeballs peeled.

Session I, 5 — 7 pm Discussant: Tom McDonough Associate Professor and Chair of Art History, Binghamton University Nicolas Linnert «All Access Politics: Reality and Spectatorship in Two Film Installations by Jean - Luc Godard & Hito Steyerl» Hammam Aldouri «Sortir du Champ: Toward the Readymade as Artistic Practice» Benedikt Reichenbach «Materialism of Form: Binary Images as Models of Representation» Session II, 7:30 — 9:30 pm Discussant: Soyoung Yoon Assistant Professor of Art History & Visual Studies, The New School Kim Bobier «Mine the Gaps: Subliminal Civil Rights Struggle in Lorraine O'Grady's Art Is...» Kaegan Sparks «Routine Performance: Self - Management and Affective Labor in Martha Wilson's Early Works» Harold Batista «Immediate Peers for the Generations: Intergenerational Cooperation and Mutual Dependence» Admission is free.

Ida Ekblad's artistic practice incorporates painting, sculpture, performance, filmmaking as well as poetry.

Merce Cunningham's dedication to pursuing the use of new technologies through his practice made him a central figure not only to the development of new forms of dance making but also to a community of artists who used the projected image as a mode of performance and artistic practice.

In my artistic practice, I seek collaborations of all kinds; it allows me to continually learn, grow and make dance / performance that is of interest to others on as many levels as possible.

Taking the lead from the recently published anthology of works Playing with Words: The Spoken Word in Artistic Practice, this event encompasses performances, talks and conversations by artists and researchers who employ spoken words as their material and inspiration.»

And yet SMS suggests otherwise: that he was in fact deeply engaged with many of the most advanced artistic practices of the 1960s, including Pop Art, Nouveau Réalisme, Fluxus, Mail Art, Earth Art, and Conceptual Art, as well as avant - garde music, poetry and performance.

These performances show Pope.L working in a space between community organization and an artistic practice — mobilizing individuals while attempting to address societal concerns through an abstraction of imposing themes such as labor, identity politics, and basic civil and fundamental rights.