Sentences with phrase «practices of visual artists»

In it, she demonstrates how close the advanced practices of visual artists and dance were in the 1960s.

Not exact matches

Naturally, The Escape Artist evinces Deschanel's practiced, poetic eye for the visual image; production designer Dean Tavoularis (The Godfather) contributes and costume designer Gloria Gresham contribute to the film's «out of time» look.

MINI and London - based art practice United Visual Artists unveiled a new site - specific installation in Brooklyn this week, dubbed «Spirit of the City».

School of Visual Arts (SVA) presents «The Influentials,» an exhibition featuring distinguished female alumni of the College and the diverse group of artists who have influenced their practice.

The artists who exhibited in Ideal are committed to an abstract art practice that communicates directly through the experience of pure visual information.

She is a practicing visual artist and has exhibited at various organizations including, Biennale Internationale de Céramique d'Art, Vallauris, France; Paradox Gallery, Zurich, Switzerland; San Francisco Museum of Modern Art; Stroud House Gallery, UK; and Roman Susan, Chicago.

The approach that the artists in Slipped have taken to clay as an extension of their painting or sculptural practices has resulted in an exciting and innovative works that combine the visual and sumptuous nature of ceramics with a conceptual rigour.

As the idea for Iniva developed, it grew to encompass internationalism and the study of global artistic practice; the remit being that Iniva should seek out and champion artists from around the world whose work and ideas would provide new perspectives for Britain's then predominantly western - centric view of the visual arts.

How to Flatten a Mountain is an exciting 12 days residency opportunity presented by PhotoIreland Foundation & Cow House Studios, and with the support of OPW, open to emerging and mid-career visual artists whose artistic practice in whole or part, makes use of digital and / or analogue photographic processes.

Their work as practicing artists underscores the quality of visual arts instruction that they provide to over 2000 students of all ages each year.

Pratt's Fine Arts graduate faculty are award - winning artists who are in the forefront of visual culture in New York and who are engaged in diverse practices and discourses.

questions - of - practice - visual - artist - ann - hamilton - on - the - relationship - between - production - and - consumption

The artist's studio practice is based on her feel for visual texture, a rich and adventurous palette, and a level of draftsmanship that takes full advantage of an expressive linear technique.

In a 1989 conversation with Douglas Crimp on AIDS and visual art, the activist artist Gregg Bordowitz commented that institutional critique had ceased to be the main focus of his practice.

The relationship between drawing and sculpture is particularly interesting in contemporary art practice; Antony Gormley is one of the most eloquent artists when it comes to articulating ideas that pertain to individual perception, collective needs, intellectual processes, or the applications and development of a visual language to assuage the spiritual or emotional privations of the modern world.

While distinct in their own practice and aesthetics, the participating artists from the fields of dance, visual arts and music, share an affinity with Jonas» engagement and «insistence» on reading the world (s) against and with the flow of the times.

Co-organized by the Menil Collection and the University of California, Berkeley Art Museum and Pacific Film Archive, Silence takes a multimedia approach to understanding the ways contemporary visual and sonic artists such as John Cage, Joseph Beuys, Doris Salcedo, and Christian Marclay have practiced withdrawal as a response to the complications and multiplicities of contemporary life.

You must identify as a visual artist and be able to submit a portfolio of work that showcases a serious commitment to a studio or artistic practice.

Each of these artists — many whose works have been featured in exhibitions that the Museum has originated — contributes to the field of visual art in tangible ways and consistently demonstrate a commitment to expanding their artistic practice.

The Fulcrum Fund is expressly interested in visual art including: public art projects / site specific installations, the publication of writing directly related to the visual arts including printed matter and online publications, artist residencies, film screenings, curatorial projects and exhibitions that highlight unconventional artistic practice, workshops, multimedia, video and photo projects.

Terry Adkins: The Smooth, The Cut, and The Assembled will explore the visual and conceptual concerns that define the late artist's sculptural output, inviting a new appreciation of his unique interdisciplinary practice.

Here, Ortel contextualizes the personal and historical transformation of Saint Phalle's art practice, her reception of Pollock and other American artists, and the development of Nouveau Réalisme within postwar French visual culture.

Adam Craemer is a South African artist who devised a practice of creating pieces of portraiture and adding abstract elements that further the visual experience.

Since 1949 it has consistently supported contemporary visual artists to successfully transition from education into professional practice, primarily by means of an annual, nationally touring exhibition.

Invitation to Artists: The Artist Residency is open to all visual artists and will accommodate all levels of experience, from the beginner, who is seeking to develop basic skills, to the advanced artist, who may be interested in insights into the instructor's approach and praArtists: The Artist Residency is open to all visual artists and will accommodate all levels of experience, from the beginner, who is seeking to develop basic skills, to the advanced artist, who may be interested in insights into the instructor's approach and pracArtist Residency is open to all visual artists and will accommodate all levels of experience, from the beginner, who is seeking to develop basic skills, to the advanced artist, who may be interested in insights into the instructor's approach and praartists and will accommodate all levels of experience, from the beginner, who is seeking to develop basic skills, to the advanced artist, who may be interested in insights into the instructor's approach and pracartist, who may be interested in insights into the instructor's approach and practices.

This roundtable of visual artists, including Dawn Clements, Gregory Crewdson, and Eric Fischl, will investigate Edward Hopper's style and his lasting legacy on the work and practice of today's artists.

Reading Room explores some of the ways in which contemporary visual artists, poets, writers, and scholars practice in the rich seam between art and writing.

Importantly, she has used her visual practice of recycling and abstracting to recuperate the legacies of women artists, specifically Anne Truitt's totemic sculpture, Anni Albers's collection of Peruvian textiles, Eileen Gray's room dividers, and Sonia Delaunay - Terk contributions to Orphism.

We have mounted important exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions such as Made in U.S.A.: An Americanization in Modern Art, the «50s & «60s; State of Mind: New California Art Circa 1970; In a Different Light: Visual Culture, Sexual Identity, Queer Practice; Human / Nature: Artists Respond to a Changing Planet; and Masterworks of Chinese Painting: In Pursuit of Mists and Clouds.

The artists included in this exhibition have created personas in their visual or performative practices in order to discuss feminism and the making of difference beyond anthropocentric or gender politics.

Extensive installation views capture the dynamic combination of visual imagery and text that has come to characterize Pettibon's practice, and a selection of gritty black - and - white photographs by Andreas Laszlo Konrath offers an intimate glimpse into the artist's working process.

Through clever manipulations of cropping, ordering, and pagination, Printed in Germany offers readers an original aesthetic experience and comprehensive insight into the practice of one of today's most thought - provoking artists, while — through pure visual splendor — pushing the boundaries of the artist's book into new realms.

For several Gallery artists, in particular Jason Wallis - Johnson and Chris Kenny, the visual language of maps and map - making has become an integral part of their practice.

For the first time, the book's author, Miguel de Baca, joins the artist's daughter, Alexandra Truitt, in a conversation about the artist's early ambitions as a writer and visual artist, her gravitation toward the theme of memory that ultimately transformed her practice, and the resonances that her extraordinary body of work has for us today.

This funding will support the development of a workbook detailing best - practices for managing collections of artwork, records, and archives in visual artist's studios.

We view the field of visual arts in its broadest and most inclusive sense and therefore make our awards available to artists engaged in artistic practices spanning all media and methods of production.

Located in the historic district of downtown Staunton, Virginia, Beverley Street Studio School (BSSS) has adopted as its mission «providing the community and region with a variety of opportunities to explore the world of the visual arts through practice, professional instruction, and contact with practicing artists».

Julian Chams and Beatrice Glow, both Van Lier Visual Artist Fellows in 2015, collaborate on a work that highlights the intersection of their methodology and practice.

This selection of artists is designed to facilitate conversation and collaboration between Houston literary and visual arts communities and practices occurring nationally and internationally.

Massa Lemu is a Malawian visual artist and writer whose multi-disciplinary artistic practice takes the form of drawing, performance, and multimedia installations that are concerned with the contradictions of migration within globalization and the effects of an immaterial, flexible and mobile capitalism on the post-colonial subject.

Visual Committee members are practicing accomplished artists, including but not limited to former Fellows of the Fine Arts Work Center.

2014 Ayelet Danielle Aldouby, Curator & Co-Founder, Artea Projects Harutyun Alpetyan, Independent Curator, Armenia Marco Antonini, Executive Director & Curator, NURTUREart Rocio Aranda - Alvarado, Curator, El Museo del Bario Karen Archey, Independent Curator & Critic, NYC and Berlin Nova Benway, Assistant Curator, The Drawing Center Boshko Boskovic, Program Director, Residency Unlimited Marie Burns, Program Manager, apexart Ethan Cohen, President & CEO, Ethan Cohen Fine Arts Irina Danilova, Independent Curator Eva Diaz, Critic & Assistant Professor of Contemporary Art, Pratt Institute Erin Donnelly, Independent Curator & Programs Manager, Smack Mellon Juliana Driever, Independent Curator, Writer, and Educator Shlomit Dror, Independent Curator Jason Duval, Artist & Independent Curator Alessandro Facente, NARS Special Projects Curator Jane Farver, Independent Curator Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts Carter Foster, Steven and Ann Ames Curator of Drawing, Whitney Museum of American Art Anna Frost, Independent Curator, Berlin andCopenhagen Asya Geisberg, Owner & Director, Asya Geisberg Gallery Jessica Gildea, Programs Director, CUE Art Foundation Jan Hanvik, Executive Director, Clemete Soto Velez Cultrual Center Larissa Harris, Curator, Queens Museum Eric Heist, Founder & Director, Momenta Naomi Hersson - Ringskog, Executive Director, No Longer Empty Felicity Hogan, Artist, Independent Curator & Senior Program Officer, New York Foundation for the Arts (NYFA) Learning Jin Young Hwang, Co-Founder, K&H Art Advisory Inc Tzu - chieh Jian, Independent Curator & Critic, Taiwan Paddy Johnson, Founding Editor, Art Fag City Rhiannon Kubicka, Co - Owner / Co-Director, Blackston Gallery Omar Lopez - Chahoud, Independent Curator & Artistic Director, UNTITLED Stephen Maine, Artist, Critic & Independent Curator Julie McKim, Director, Kunsthalle Galapagos John Moore, Independent Curator & Critic Isabelle Normand, Independent Curator, Paris & Los Angeles Isin Önol, Independent Curator, Vienna Douglas Paulson, Residency Director, Flux Factory Vittoria Pavesi, Independent Curator, Italy Laurel Ptak, Director, Triangle Arts Association Sara Reisman, Director, Percent for Art, NYC Department of Cultural Affairs David A. Ross, Independent Curator & Chair, MFA Program in Art Practice, School of Visual Arts Cindy Rucker, Owner & Director, Cindy Rucker Gallery Sebastien Sanz Santamaria, Director of Operations, Residency Unlimited Krista Saunders, Curator & Co-Founder, Ground Floor Gallery Keith Schweitzer, Co - Founder / Director, The Lodge Gallery and Director of Public Art, Fourth Arts Block Bernard Schutze, Independent Curator & Critic, Montreal Felipe Scovino, Independent Curator Eric Shiner, Director, Andy Warhol Museum Carolyn Sickles, Director of StudioLab, Abrons Arts Center Sarah Suco Tores, Independent Curator Yulia Tikhonova, Independent Curator Jodi Waynberg, Executive Director, Artists Alliance Inc..

Through varying practices and visual languages, the artists aim to elevate familiar aspects of daily life while translating them into artworks that are catalysts of energy and time.

CAC, OtherPeoplesPixels, and the Coney Family are enthusiastic to announce the recipients of the 2017 MAKER Grant, an award opportunity for three Chicago - based contemporary visual artists who demonstrate a commitment to a socially conscious, progressive, and sustainable artistic practice and career development.

Artes Mundi's links with the international art community make it well placed to initiate dialogue between artists and the communities, opening up access to the contemporary visual arts and the ideas and practice of contemporary artists.

Using digital and wireless platforms, as well as analog printing and traditional casting techniques as a point of departure, each of the artists» creative processes explore the development of artistic practices and visual vernacular in the post-information age.

In What I See When I Look at Sound at Perth Institute of Contemporary Arts, curator Leigh Robb has presented five works by artists whose practices collectively traverse the visual, sonic, and performative.

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.

To this end, the exhibition will highlight Pousette - Dart's intellectual curiosity and open - minded engagement with a broad range of cultural, intellectual, and even technological stimuli as he continued to push his practice as a visual artist forward in ever - ambitious new directions.

digital collages that explore racial and cultural ambiguity through visual hybridity, like the work of each artist in this exhibition, demonstrate that late 20th - century predictions of the end of traditional fine «art» practice at the dawn of digital culture were simply wrong.