Sentences with phrase «practices of a new generation of artists»

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

Not exact matches

With a frame reflecting the New Museum's approach to its own triennial — whereby it focuses on emerging artists — the show offered a platform upon which to explore a new generation of contemporary practicNew Museum's approach to its own triennial — whereby it focuses on emerging artists — the show offered a platform upon which to explore a new generation of contemporary practicnew generation of contemporary practices.

The activities of that era provided a path for the increasingly influential voices and innovative practices of new generations of contemporary artists working today, figures such as Nina Chanel Abney, Mark Bradford, and Adam Pendleton, whose recent publications are also among the best of 2017.

Particularly important to the new generations of artists in Russia, V - A-C's focus is on practically supporting and expanding the platform for home - grown talent, challenging artists to experience, engage with and interrogate international cultural practices whilst developing an authentic and autonomous artistic language.

Drawing in Tintoretto's Venice will be the first exhibition since 1956 to explore the drawing practice of this major figure of the Venetian Renaissance and will offer an entirely new perspective on Tintoretto's evolution as a draftsman, his individuality as an artist, and his influence on a generation of painters in northern Italy.

«As one of the first American museums to acquire Pollock's work, it only is fitting that the DMA should present this definitive exhibition of the black paintings, engaging a new generation of audiences with this important and under - examined aspect of the artist's practice,» Delahunty concluded.

Coming of age during the 1968 student protests, which swept across Yugoslav cities, Iveković belongs to the New Art Practice (NAP), a generation of artists whose conceptual practices gravitated toward the use of public space, breaking away from institutional infrastructures.

This innovative MA is designed for a new generation of artists looking to combine the entrepreneurial acumen to build a sustainable creative practice with a professional life in the arts.

The exhibition traces the impact of the work of 20th Century pioneers of textiles, fashion and handcrafted practice, such as Anni Albers, Louise Bourgeois, Sonia Delaunay, Eva Hesse and Hannah Ryggen, on younger generations of artists who incorporate similar materials and processes into their work, as well as bringing together 8 new works, created especially for the show.

One of Britain's most original and inventive sculptors, Penelope Curtis, former director of Tate Britain, has described Flanagan as «a maverick figure but a maverick who was absolutely central to the artistic conversation of the 1960s and 70s».2 One of the influential generation of artists studying at St Martin's School of Art in the early to mid-1960s, Flanagan reacted against the formal rigidity of sculpture at that time, challenging the nature of the medium and contributing to a new understanding of the practice.

After a nearly decade - long hiatus from the West Coast art scene, his paintings at this exhibition present a sort of general overview of a thrillingly differing painting practice and thus making an assertive case for the historical significance of Schnabel's opus as well as his increasing relevance to the new generations of artists and art aficionados.

Rooted in activism, Mitchell's work has become extremely influential to a new generation of artists who merge their artistic practice with social justice.

Connecting the ideas and practices of Simon Hantaï and Frank Stella with a younger generation of abstractionists like Nathan Hylden and Zak Prekop, the exhibition examines the constraints, procedures and repeated gestures used by these artists to create new images.

The new generation of artists emerging in West Germany experimented with performance and collaboration and incorporated media from beyond the traditional boundaries of studio practice, such as sound and film.

An exhibition of work by four acclaimed contemporary artists who explore themes and ideas central to Andy Warhol's artistic practice, demonstrating how Warhol's legacy continues to influence and shape the content of the work of a new generation of artists.

«With their raw, immediate, and gritty street and studio practices, these post-punk, key artists of the Mission School would soon become international icons for new generations of art students and makers.»

Organized and curated by Takashi Murakami, Blum & Poe's group show of Japanese ceramics showcases a new generation of artists whose works merge traditional Japanese ceramic practices with a contemporary aesthetic.

The exhibition unfolds chronologically, showcasing the experimentation of each artist as, departing from the work of Lucio Fontana, these new generations developed a personal language at a critical moment of their artistic practice between the 60s and 70s.

Her curatorial practice as part of Collins & Milazzo helped disrupt neo-expressionism, establish new conceptual art in the East Village, and establish a new generation of artists in the 1980s.

From the perspective of socially - engaged practice, the pressing question assumes an ethical cast: how can their stories and art instruct a new generation of artists and their supporters?

The cultural identity established by earlier generations of LGBT artists has opened the door for new conversations in artistic practice.

BIO Katya Grokhovsky is a New York based artist, curator and organizer, invested in the exploration of multidisciplinary and multimedia practices, which cross generations, genders and geography.

After a hiatus from the West Coast art scene for nearly a decade, this first exhibition at Blum & Poe takes the form of a concise overview of an exhilaratingly divergent painting practice — making a forceful case for the historical importance of Schnabel's oeuvre as well as his ever - growing relevance to a new generation of artists.

He has also exhibited in group shows including After Party: Collective Dance and Individual Gymnastics, Blindspot Gallery, Hong Kong (2017); New voices: a dslcollection story, Klein Sun Gallery, New York, NY (2016); We - A Community of Chinese Contemporary Artists, K11 Art Museum, Shanghai, China (2016); 28 ° 00 ′ N 120 ° 42 ′ E, How Art Museum, Wenzhou, China (2015); The System of Objects, Mingsheng Art Museum, Shanghai, China (2015); Cinematheque, K11 Art Museum, Shanghai, China (2015); Performance and Imagination: Chinese Photography 1911 - 2014, Stavanger Art Museum, Stavanger, Norway (2014); My Generation: Young Chinese Artists, Tampa Museum of Art & Museum of Fine arts, St. Petersburg, FL (2014); 28 Chinese, Rubell Family Collection / Contemporary Arts Foundation, Miami, FL (2013); Rising Dragon: Contemporary Chinese Photography, San Jose Museum of Art, San Jose, CA (2013); ON / OFF: China's Young Artists in Concept & Practice, Ullens Center for Contemporary Art, Beijing, China (2013); The First «CAFAM Future» exhibition, CAFA Art Museum, Beijing, China (2012); and Reflection of Mind: MoCA Shanghai Envisage III, Museum of Contemporary Art, Shanghai, China (2010).

By then, Boone had become the bellwether to a new generation of artists and her gallery a byword for risky, bold, painterly practices.

The gallery aims to present these artists to a new generation and to demonstrate both the strength of their lifelong commitment to their practice and the continuing dynamism of their recent production.

Thus, «New voices: a dslcollection story,» reveals the practice and works of China's youngest generation of artists, who have distinctly different points of cultural and historical reference in comparison to their predecessors.

Ñongos: A Document of the Tijuana River's Improvised Housing Community Ana Andrade is one of a handful of new - generation Tijuana artists involved in artistic practices desiring to produce social change.

Exploring archives, locally and abroad, the exhibition brings the themes and methodologies that have informed the artist's practice for over sixty years to a new generation, who themselves have witnessed the effects of industrialisation, capitalism and globalisation in recent world events.

The new models of artistic practice developed by these artists continue to shape what a younger generation of artists is creating today, particularly where institutional critique and concepts of authorship are concerned.

Korot was part of the first generation of artists to claim the new technology of video as an art form rooted in the external world; yet by the mid-70s, she turned her creative practice inward to the contemplative repetition of weaving.

A major new exhibition presented by Tate Liverpool in summer 2011 will reveal the inspiration behind the artist's unique style, highlighting how his practice continues to influence later generations of artists, resonating beyond Surrealism to inform the language of pop and conceptual art.

, a two - part exhibition featuring a new generation of artists who are challenging the construction of history through visual practice.

His large, sumptuously decorated studio in the Tenth Street Studio Building, which he took soon after his return to New York, was the most famous artist's studio in America and a virtual manifesto of his and his generation's artistic practices and beliefs, and of the dignity of the artistic calling.