Sentences with phrase «personal identities of artists»

Not exact matches

In Yashar Azar Emdadian's video performance Des - Integration (2012), the artist shaves his torso in a public space, his body becoming the boundary between a migrant's molting of personal identity and his integration into another culture.

But all these works come from a place of deep personal perspective and wildly messy emotion, and, as a newcomer to Goodman's works, this strikes me as relevant to a contemporary conversation about women artists and female identity writ large.»

The works reveal how these artists stage their own bodies or self - reflections to examine the different ways that we build our sense of personal identity.

While portraiture has illustrated political and social circumstances throughout history, the artists in this exhibition try to transform portraiture into a genre that can hold its own weight amongst the innovations of the contemporary art world by using Neel's portraiture as inspiration means to address the complexities of personal identity.

2010 Schwager, Michael, Personal Identities / Contemporary Portraits, University Art Gallery Sonoma State University, November / December Schuster, Dana, A-List Artist, New York Post, 29 December Siverio, Ida, Kehinde's R - evolution, October, pp. 24 - 27 Watson, Simon, Kehinde Wiley, Whitewall Fall 2010, pp. 119 - 123 Halperin, Julia, Kehinde Wiley Now Represented in New York by Sean Kelly Gallery, New York Observer, 17 September Jackson, Brian Keith, A World Stage, Juxtaposed: Kehinde Wiley Between Africa and China, Leap No. 03, pp. 86 - 93 PAFA's Summer Surprises and More, SanArt, 1 August Feldman, Melissa, World Cup Chic Kehinde Wiley's Fancy Footwork, New York Times Magazine, 2 June Loszach, Fabien, Bling - Bling, Everytime I Come Around, Esse Arts + Opinions, No. 69, Spring / Summer Badinella, Chiara and Fabrizio Affronti, Grandi Maestri, Fonte Perenne, La Casana No. 1, January - March, pp. 26 - 29 100 Artisti da Scommetterci / 100 Artists to Bet On, Arte Magazine, Milan, Italy, August, pp. 120 - 140 Hunt, Kena and Watson, Simon, Kehinde Wiley, Vogue Italia, October Dreyfuss, Joel, Meet the Root 100, 2010 Edition, The Root unveils its latest list of young African - American pace setters and game changers, The Root, 10 October Garfield, Joey, Kehinde Wiley, Juxtapoz January, pp. 46 - 61 Karcher, Eva, The Colours of Africa: Art Beyond the Primitive, The Mini International Vol.34, Issue 2, pp. 36 - 41 Krentcil, Faran, First Look: Puma Africa, Nylon Magazine, 16 March

Video artist Dara Birnbaum was one of the first artists to toe the line between both brand and personal identity, as seen in her 1980 work that actually functioned as an ad for the French cognac label Remy Martin.

Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity.

Through painting, a medium that has traditionally embraced this binary, these artists are pushing the genre in new, unprecedented directions, challenging the ways in which paintings can be used to deconstruct and rewrite conventional notions of personal identity, engendering a new visual pronoun.

Redolent of everyday devices in certain communities and populations such as a hut or a wheel, the artist focuses not just on ideas around personal or interpersonal identity, but he also emphasizes on how memory can be the vehicle for transmitting certain typologies of quotidian practices from generation to generation.

Many of the 21st century artists — such as iona rozeal brown, Trenton Doyle Hancock, and Robert Pruitt — mix national, international, historical, and pop - culture references with personal stylistic preferences to produce images that provoke more questions about identity than they answer.

It deals with collecting the multiple narratives of artists difficult to classify because they have a very personal speech often linked to topics such as subjective memory, identity play autobiography, poetic senses... His themes of artistic settings are linked to individual symbols and a peculiar structure of their experiences, which has a very significant role in the works of contemporary artists in the IVAM collection as Robert Frank, Bruce Nauman, Christian Boltanski, Cindy Sherman, James Lee Byars, Juan Muñoz or Cristina Iglesias.

Twenty - five works from international artists including Pawel Althamer, Louise Bourgeois, André Breton and the Surrealists, Enrico David, Tracey Emin, Gilbert & George, Gabriel Kuri, Yayoi Kusama, Linder, Aditya Mandayam, Raqs Media Collective, Prem Sahib and Cindy Sherman, reveal how these artists stage their own bodies or self - reflections to examine the different ways that we build our sense of personal identity.

On the one hand, Darboven's oeuvre is defined by the contrast between a programmatic mechanization of aesthetic production procedures, and, on the other hand, by radical cross-references to the artist's own biography and personal identity.

NICOLE BRAY: My personal art collection centers around the idea of Warrior Women, strong female artists who are redefining sexuality, identity, and personal narratives.

«Current Locations» also speaks to these artists» affinity with creating a sense of place (or places): painter Barbara Marks creates voluminous pictorial & interior spaces with her deeply saturated color palette; Elise Church paints intimate environments based on her travels in space in time; Colombian artist, Esperanza Cortés incorporates natural resources and folklore motifs from her homeland as a means of exploring personal identity; Kyle Vu - Dunn sculpts warped «natural» environments to harbor the self; and Viviane Rombaldi Seppey blends world maps (with emphasis on places she's lived) with morbid imagery from traditional medical textbooks.

On view June 25 - October 23, 2016, the show includes more than 60 non-figurative portraits that pose provocative questions about what a likeness is; how a person's individuality might be expressed effectively by another; how much a portrait can be influenced by the artist's, as opposed to the subject's, personality; and the very conceptualization of personal identity.

Many of the artists also began to broach trenchant questions of personal and group identity, igniting concerns that continue to preoccupy much recent art.

Identity Shifts A companion exhibition to Posing Beauty, this collection - based display features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural iIdentity Shifts A companion exhibition to Posing Beauty, this collection - based display features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural identityidentity.

Tangled Up by Kalup Linzy is an exercise in narrative, where the artist as storyteller weaves fragments of personal and collective memory to inform upon a sweeping, yet localized, account of identity - formation, selfhood and self - fashioning in the current cultural climate.

The exhibition examines the objects themselves but also looks at the personal narratives of the mask sellers, drawing on the artist's own migration from Kenya to Canada in a series of works that create a shared history of identity and origin.

Audrey Chan (b. 1982, Chicago, Illinois) is a Los Angeles - based artist, writer, and educator whose research - based projects articulate political and cultural identities through allegorical narrative and the feminist construct of «the personal is political.»

TUESDAY, APRIL 30 NOON LUNCH, 12:30 - 1:30 P.M. PROGRAM FACULTY BIENNIAL ARTIST TALKS: Lisa Rundstrom and Humberto Saenz External vs. Internal: Exploring the Public and Private with Lisa Rundstrom, ShiftSpace Gallery Director and Lecturer Rundstrom is a multi-disciplinary artist exploring notions of personal identity, intimacy, power, and interdependence through installations of light, video, and performative ARTIST TALKS: Lisa Rundstrom and Humberto Saenz External vs. Internal: Exploring the Public and Private with Lisa Rundstrom, ShiftSpace Gallery Director and Lecturer Rundstrom is a multi-disciplinary artist exploring notions of personal identity, intimacy, power, and interdependence through installations of light, video, and performative artist exploring notions of personal identity, intimacy, power, and interdependence through installations of light, video, and performative works.

If, she explains, a theme runs throughout, it's «contributing toward a visibility surrounding alternative, marginalized identities,» using the artists» own personal identities as points of departure.

The show reflects on a number of interesting notions: the ways in which postwar black artists have constructed their identity through their reliance on abstraction; the formal affinities between artists of different generations; and the role of non-figurative art as both personal expression and political impetus.

«SELF REFLECTION is an intersectional approach to issues of «gender, identity, sexuality, body image, censorship, and self - liberation,» says The Untitled Space Gallery, and the artists involve use their own autonomy as a means of addressing «the personal as political via self - reflection and reinvention, tackling conventional notions of female image and taboo.»

With an encompassing hostility directed at all levels of art market participation — from collectors and dealers to curators and the artists themselves — these pieces dismantle the oxymoronic myth of consumer choice, and the false conflation of economic patronage with personal identity.

(b. 1982, Chicago, Illinois) is a Los Angeles - based artist, writer, and educator whose research - based projects articulate political and cultural identities through allegorical narrative and the feminist construct of «the personal is political.»

This collection - based exhibition features works by African American artists who use representations of the human figure or some aspect of the body (including hair) to explore how we construct and perceive personal and cultural identity.

Galerie Lelong is bringing together a great group of artists — including Rosemary Laing, Samuel Levi Jones, Nalini Malani, Ana Mendietta, and Krzysztof Wodiczko — whose work engages personal conversations about migration and borders, colonialism, and the politics of identity.

Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Hughie Lee - Smith, Norman Lewis, Horace Pippin, and Charles White, the exhibition and its related programs allow visitors to reflect upon a broad range of African American experiences, and examines the ways different African American artists have expressed personal, political, and racial identity over approximately 100 years.

Art historians Rhea Anastas and Thomas Crow join artist John Miller and MoMA PS1 curator Peter Eleey to consider class in Kelley's work, and the way it functions both as a symptom and indicator of his relationships to institutions, feminist politics, and personal identity.

Brussels based artist and filmmaker Manon de Boer creates subtly compelling and at times austerely beautiful works that explore time, memory, sound, performance and the formation of personal identity.

Well before the market crash, political art was feeling omens of disaster, while such artists as Amy Wilson and Rashid Johnson were turning from politics to cryptic meditations on personal identity.

Along with her prevailing obsession with cultural identity, and inspired by recent personal events, the artist began down a new path of self - discovery.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

The mirrored, joint exhibitions offer an eclectic overview of the artist's probing intellectual and existentialist pursuits, subjects that range as widely as the semantic structure of language to our comparative experience of space, the exploration of individual identity, art historical tropes, and a personal (and formative) obsession with chess.

A personal counterpoint to 2017: The Mess, the artist plays with the constructs of portraiture by substituting one aspect of the sitter's identity with a painted replacement.

The solo exhibition by Polish visual and performance artist Justyna Scheuring, who lives and works in London, brings together sign language interpreters and consecutive translators, in order to compose a performance through a multitude of voices and forms of expression to question issues of identity in a context of personal trauma, global migration and the experience of otherness.

Through her collage - based paintings depicting intimate, personal scenes, Nigerian - born, L.A. - based artist Akunyili Crosby is pulling focus onto a larger trend, what's become known as «Afropolitanism»: the shifting multicultural identity of African citizens and members of the African diaspora as they move to more urban centers across the globe.

Thematic cohesion, meanwhile, can be found through the artists» individual interpretations of landscape and personal space, and by subtle commentary on personal identity.

She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do.

Contemplating both the universal norm that regards portrait photographs as the physical description of personal identity and the history of Hong Kong photography starting from the mid-19th century, this exhibition presents the perspectives of the two artists, who carve out both visible and invisible portraits of individual / communal and social / historical stories.

He also began crafting the performative self - portraits - «selfies» avant la lettre - that form the backbone of his artistic practice, exploring the questions of personal and political identity that preoccupied many artists of his generation.

Especially as the competition between national schools of abstract painting escalated, breaking out in arguments and even punches in the case of Kline and the French painter Jean Fautrier, it would follow that the internal competition within these national schools also intensified.27 This was certainly true on the French side at the Venice Biennale: in a very unusual move, two artists — Fautrier and Hans Hartung — were awarded Grand Prizes in painting, whereas normally only one was given, because the jury could not decide between the two contenders.28 Within the context of the politics internal to the movement of abstract expressionism, Meryon could thus be seen as a reassertion of Kline's original, breakthrough style as his own and thus a defence of his personal artistic identity, after Kline himself had turned to colour, around 1955, and left it up for grabs.

Moscow performance artist Elena Kovylina exhibits a video work that examines post-Cold War Russia and its similarities to a post-colonial state; UK photographer Ellen Nolan asks what we mean by personal «identity» within a social system; and conceptual artist Flavia Muller Medeiros looks at the contemporary phenomenon of cross-cultural migration between Eastern and Western Europe.

As the viewer confronts this gruesome depiction of the decaying animal body, the artist draws our attention to the existential truth that just as our physical selves will one day disappear, so will the intangible aspects of our identities, memories and personal histories dissolve away.

London - based artist Mona Hatoum (b. 1952, Lebanon) merges the personal and the political, juxtaposing opposites to expose the complexities and contradictions of identity in our increasingly globalised world.

Recent Histories: Contemporary African Photography and Video Art from The Walther Collection unites the perspectives of 14 contemporary artists of African descent, who investigate social identity, questions of belonging, and an array of sociopolitical concerns — including migration, lineage, the legacies of colonialism and Calvinism, and local custom — as well as personal experiences in Africa and the African diaspora.

Johannesburg - based artist Lebohang Kganye's characteristic images will also be making an appearance — her photography incorporates interests in sculpture and performance, as well as traits of her personal history and identity.

Investigating all main aspects of Varela's artistic production, the show explores the role played by identity and personal history, social and political issues, as well as transnational experiences in the definition of the artist's oeuvre.