Sentences with phrase «position of a visual artist»

Not exact matches

In between, she earns a Guna S. Mundheim Visual Arts Fellowship in Berlin, a Guggenheim Fellowship, a United States Artists Fellowship; exhibits at the 11th Nicaraguan Visual Arts Biennial in Managua; and accepts an appointment as assistant professor of photography position at School of the Art Institute of Chicago.

The artist has held teaching positions at Cooper Union, Yale University, the University of Pennsylvania, and currently is teaching at The School of Visual Arts.

Above all else, the range of his work, the elegant visual language and the metaphysical content guarantees him a worthy position of one of Italy's finest living artists.

This display encompasses many artists taking different political positions and of differing identities and backgrounds, but a lot of the work on display is looking at how social and political experience is reflected in broader visual culture, including pop culture.

His work reflects on the spectacle, the transformation of the position of the artist in the visual system, and the future role of the spectator in art.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

Her previous positions include Executive Director of Flux Factory, a non-profit arts center in Queens and Curatorial Associate at Artis, a nonprofit that supports and promotes contemporary visual artists from Israel.

He held the position of Artist in Residence at The School of Visual Arts, NY, in the graduate program for computer arts (2008).

From 2004 — 2014, Pirotte has held the position of Senior Advisor of the Rijksakademie for Visual Arts in Amsterdam, and in 2012 he became Adjunct Senior Curator at the UC Berkeley Art Museum and Pacific Film Archive where he curated the first retrospective of acclaimed Chinese film artist Yang Fudong.

I have been fascinated by wild states for some time and have recently been integrating my creative practice as a visual artist and recreational outdoor activities which have resulted in objects that function both as survival gear and as carriers of ideological positions.

«Electric Ladyland» also befits Van Kerckhoven's background as a trained graphic artist who since 1981 has been both an active member of Antwerp's experimental - music scene and someone who has long embraced an array of visual languages in the studio to explore various polemical, philosophical positions.

Informed by landscape and the visible reality of the physical world, these works move away swiftly from that mode of representation, positioning themselves as transient moments (in the artist's visual present or in his memories of such moments) and simultaneously as objective ideas about color, forms, and composition - that is, about painting itself.

The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.

«As an artist whose images straddle the border of art and document, Friedlander was uniquely positioned to preserve the social and visual phenomena of New Orleans, creating a varied body of work that is as humanistic as it is artistic,» said Susan Taylor, NOMA's Montine McDaniel Freeman Director.

From 1994 -2003 she held the position of Director of the Visual Arts Program at The New School in NYC, as well as having been an adjunct professor and visiting artist at Rutgers University, Long Island University, New York University, University of Connecticut, University of Baroda and elsewhere.

Drawing Outside the Lines, High Museum of Art, Atlanta, GA 2015 Leap Year (s), The Hambidge Center, Rabun Gap, GA 2015 Ephemeral Memorable, Mammal Gallery, Atlanta, GA 2013 AQUA Art Miami, AQUA Hotel, Miami, FL 2012 Fresh Blood, Mason Murer, Atlanta, GA 2012 Trans / Positions, Kiang Gallery, Atlanta, GA 2011 GA Artists, Abernathy Arts Center, Atlanta, GA 2009 ARThouse [09], The Pink Palace, Atlanta, GA 2009 The December Show, Whitespace Gallery, Atlanta, GA 2008 Crop Circles, Cosmograms, and Psychogeographies, Eyedrum, Atlanta, GA 2007 New Life Visuals, New Life Shop, Berlin, Germany 2007 Looks Good on Paper, Spruill Gallery, Atlanta, GA 2007 Scientific Aesthetics, Altered Aesthetics, Minneapolis, MN 2005 Tug of War, Starland Gallery, Savannah, GA

After treating the undoubtedly political position of the artist in «Hercules» (2007) and the problems related to psychological issues and language in «Horizon Problems» (2011), Agut now proposes a physical and visual experience that brings us closer to the moment zero of artistic creation, the moment when the artist confronts himself with his work and starts to think about it.

The artist thus creates an exhibition situation, which — depending on the position and perspective of the viewer — opens new contexts and points of reference between the altogether seven works on view: through overlapping and juxtaposition, fragmented image details of architectural constructions are transformed into new — rational and irrational — visual connections and associations.

Imaginative Bodies reaffirms the central position of the body in various artistic practices through in - depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.

Center for Emerging Visual Artists — New Positions of Administrative Coordinator Project Grant, $ 60,000

The artist held teaching positions at Cooper Union, Yale University, the University of Pennsylvania, and The School of Visual Arts.

«* To host a contemporary visual arts festival in Glasgow, to present the work of internationally established artists, strengthen the international networks for the city's artists / visual arts organisations and as a result promote Glasgow's position as a major international centre for the production and presentation of visual art.

The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment, and appreciation of the visual arts through exhibitions, education, and debate.

He has held visiting artist positions at the University of California, Berkeley (1961) and the University of Minnesota (1967) and has taught at the School of Visual Arts in New York City since 1979.

Through this project — positioned on billboards in Toronto and eight major cities across Canada — the artist critiques the lacuna of black women from visual culture while asserting their empowered presence and identity in the very spaces from which they have been historically excluded.

It is also a wide - ranging field, encompassing those who are actively creative: visual artists; designers; curators; performers; writers etc. and a host of related positions within arts management and administration as well as academic posts.