Sentences with phrase «practicing craft artists»

For the next decade, the Council maintained their New York retail venue, initiated exhibitions featuring practicing craft artists (including «Designer Craftsmen USA,» which was hosted by the Brooklyn Museum, the Art Institute of Chicago, and the San Francisco Museum of Art [8]-RRB-, and hosted national competitions such as «Young Americans» for craftspeople under 30.

Not exact matches

The artist's soft, laid - back aesthetic has helped bring the time - honored practice to the forefront, and over the last few years she's taught thousands of people how to reap the mood - boosting, restorative benefits of crafting through workshops and Instagram how - to's.

He studied and practiced his craft while training under world renowned makeup companies including Kevyn Aucoin, Laura Mercier and Yves Saint Laurent - while assisting some of the industry's top makeup artists.

And the real beauty of this notion is that the culture, craft and life that 22 ° N talks about is not limited to practicing artists but open to anyone interested in becoming involved.

Learning how to think is similar to an artist perfecting his or her craft — it evolves over time with adequate practice.

In describing her distinguished practice, the gallery said she has «emerged as a central voice in a generation of American artists questioning constructed societal historical narratives and the performative crafting of identity.

We view this space as a temporal solo exhibition, with each large work staying on the wall for at least 6 months, before being painted over and recommissioned for the next show.The site specific installation pushes the artists craft and practice to create something beyond their normal scale — the wall being 20 foot long and 14 foot high.

This informal conversation between London - based artist Francis Upritchard and German - born jeweller Karl Fritsch will explore the artist's unique sculptural language and the multiplicity of artisan and craft traditions Upritchard has incorporated into her practice, including collaborations with UK fashion house Peter Pilotto, Karl Fritsch and Italian designer Martino Gamper.

Postcode SE5 8QT Strictly for fine artist / craft based practice only.

Vikram has guest curated exhibitions for the Craft and Folk Art Museum, Shulamit Nazarian Gallery, Mills College Art Museum, ProArts Gallery, and the DeYoung Museum Artist Studio, and held curatorial positions at UC Berkeley Department of Art Practice, Headlands Center for the Arts, Aicon Gallery, and Richmond Art Center.

One of the important developments of postminimalism was the resurgence of craft, often maligned as a «low» mode of art making, and the emergence of a diversity of artists (that is, artists of color, such as the California assemblagists, and female - identified artists) who brought personal experiences and politics to their creative practices.

Vikram has guest - curated exhibitions for the Craft and Folk Art Museum, Shulamit Nazarian Gallery, Mills College Art Museum, ProArts Gallery, and the DeYoung Museum Artist Studio, and held curatorial positions at UC Berkeley Department of Art Practice, Headlands Center for the Arts, Aicon Gallery, and Richmond Art Center, and in the studio of artists Claes Oldenburg and Coosje van Bruggen.

The artists in «Dirt on Delight» run across the full spectrum of conventional delineations between fine arts, crafts and outsider practices.

Through lectures, slide talks, gallery walkthroughs, symposia, and residencies, these artists share their perspectives on practicing their chosen craft.

But Tseng was also a prolific artist in his own right, leaving behind an extraordinary body of work, crafting an enigmatic persona and anarchic performance - based practice, and bringing a devious and incendiary sense of humor to his highly sophisticated inquiry into the politics of representation.

Trained as a lawyer, Matisse saw enough success as an artist in his lifetime to devote most of his energy to studying and practicing his craft.

Opening April 3rd at EFA Project Space, Common J ive presents a spectrum of contemporary artists who summon up vernacular and traditional craft approaches in their art - making practice.

Many artists in the 1960s were using weaving and knotting to create innovative hangings and sculptures, integrating traditional craft techniques into fine art practice.

And while these artists» practices are formally linked by their «challeng [ing] the notion of the canvas as a flat surface,» the exhibition's strongest assertion is that there is no singular Puerto Rican aesthetic — a still important point of resistance within a long lineage of Eurocentric museums» limiting our collective understanding of «non-Western art» by naming it as something distinct («primitive,» «craft,» «artifact») from the trajectory of art history otherwise taught in schools.

Internationally renowned her for her unique visual practice fusing fashion, art and architecture, the Crafts Council invited artist and curator Lucy Orta to select works which engage with patter...

Informed by the interdisciplinary practices of earlier visual artists who engaged the applied arts, poetry, theater, and dance, she merges the rarified tradition of abstraction with techniques and materials common to decor and craft.

Included in every visit is a walk through the Craft and Design Studio highlighting the various ways that our Artists - in - Residence incorporate the concepts of STEAM throughout their artistic practice.

Expanding upon the artist's practice of hand - crafting everyday items from fiber and displaying them to initially deceive and then reward ordinary perception, Trombly's Paintings invite close attention to the minutiae of their own making.

Craft & Care highlights Aguiñiga's practice at the intersection of fiber art, design, social practice, and activism, with a focus on motherhood, care, border issues, and the creation of community — themes that run throughout the artist's work.

As a curator, critic, and educator, she has been a Lecturer in art practice, history, and theory at Otis College Graduate Public Practice Program, San José State University, College of Marin, and UC Berkeley; curated exhibitions for Craft and Folk Art Museum in Los Angeles, Mills College Art Museum in Oakland, and DeYoung Museum Artist Studio in San Francisco; and served as a past board chair for Kearny Street Workshop and for the Northern CA chapter of Apractice, history, and theory at Otis College Graduate Public Practice Program, San José State University, College of Marin, and UC Berkeley; curated exhibitions for Craft and Folk Art Museum in Los Angeles, Mills College Art Museum in Oakland, and DeYoung Museum Artist Studio in San Francisco; and served as a past board chair for Kearny Street Workshop and for the Northern CA chapter of APractice Program, San José State University, College of Marin, and UC Berkeley; curated exhibitions for Craft and Folk Art Museum in Los Angeles, Mills College Art Museum in Oakland, and DeYoung Museum Artist Studio in San Francisco; and served as a past board chair for Kearny Street Workshop and for the Northern CA chapter of ArtTable.

By investigating the ways in which reality can become dissociated from recognizable forms and ordinary knowledge, the exhibition considers the manual labor, or craft, within an artist's practice and its potential to modify, shape, overturn, and radically change an existing object, shape or event (historical or current) in the process.

571 Projects supports the work of dynamic emerging and mid-career artists by bringing conceptually strong, well - crafted work to the notice of an engaged art going and collecting public, via special exhibitions, independent curatorial practice and an informed art consulting practice.

Jessica Cochran is an independent curator and educator, interested in emerging art, social practice at the intersection of craft, artists» books, and the history and theory of curatorial practice and the art market.

FEATURING: CRAIG ATKINSON, CHRISTIAN BARNES, DAVID BARTON, NOUS VOUS, LANDFILL EDITIONS There is a long tradition of artists employing the crafts and technologies of mainstream publishing to create books which either document their practice or serve as artworks in their...

This exhibition showcases how the next generation of craft artists used their funds to explore scale, installation, and community practice.

Included in this exhibition are artists who have been caught up in the documentation of the incredible worlds within which scientists practice their craft.

All practicing artists, writers, or critics, they bring with them conceptual rigor and a respect for the achievement of craft employed in their own practices.

In No - Fi (No Fidelity), HATCH Projects artists Lori Felker, Jesse Seay, and Sebura & Gartelmann (Jonas Sebura and Alex Gartelmann) investigate the spectrums of craft and technical proficiency while practicing restraint or employing alternative methods in their modes of production.

They own a machine press to accomplish this work by hand, a practice that was celebrated with the inclusion of BANK (images of $ 100 & $ 100,000 US bank notes) in PRESS: Artist and Machine, a group show at the Kentucky Museum of Art and Craft that also included works by William Blake, William Morris, and David Shapiro.

To curate critically engaging, dynamic, contemporary art that shows emerging practices and excellence of craft in Baltimore artists.

From prehistoric pottery to ancient Greek amphoras, from the rise of porcelain in Asia and Europe to the Arts and Crafts movement in England and the U.S., ceramic traditions have long fascinated artists and infiltrated their practices.

Larger Than the Sum of Its Parts September 9 - October 4, 2014 Ten women artists with individual practices have met monthly for over six years to craft their careers as thoughtfully as they create their art.

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.

The artists included in this program employ a variety of techniques regarded as traditional and domestic, such as embroidery and crochet, using craft materials to address cultural and gender issues in a complex intersection of artistic practices, popular culture, and aesthetic splendor.

Claire Barclay's installation Perching Two was acquired with the support of The Art Fund and has links to other artists whose work is represented in Touchstones Rochdale's collection who adopt craft and sculptural elements in their practice, such as Alison Britton, Taslim Martin, Cornelia Parker and Nicholas Pope.

This exhibition will explore the nature and implications of definitions as they relate to the artists» practice: do terms such as «painting» or «craft» play a necessary role in artistic production?

Internationally renowned her for her unique visual practice fusing fashion, art and architecture, the Crafts Council invited artist and curator Lucy Orta to select works which engage with pattern - cutting on a variety of levels.

Lauren Kalman is a visual artist based in Detroit, whose practice is invested in contemporary craft, video, photography and performance.

This is an opportunity to consider feminist practices, ideas of authenticity, skill and craft, as well as what it means to discuss the work of artists who make alongside artists who work with new technologies.

Within this framework there was a focus on the relationship between skill and craft, and the practices of self - taught and under - recognised artists, reflecting Trockel's ongoing tendency to overturn traditional disciplinary categories.

The artists may take diametrically opposed approaches in terms of materials, concept and craft, but the evangelism for art and artists that they both practice outside their studios resonates with the work they do inside.

«There is a deep connection between mathematics and photography that originated in the invention of photography itself, a tradition that has carried into the 21st century,» says exhibition curator Klaus Ottmann, «Hiroshi Sugimoto's work exemplifies this tradition, and this exhibition reflects the artist's desire to combine a «very craft - oriented» practice with making «something artistic and conceptual».

This round gravitates heavily towards media and conceptual practice, with only one artist each from the 2D and 3D departments, both of whom seem focused on an understated attention to craft.

Crowner's forays into the ambiguous cross-over of form and function, her practice of re-articulation of artist and craft - people's work from other periods and geographic contexts, and not least her interest in hard - edged abstraction, project a strong affinity to these intricately woven, geometrically patterned baskets.

Across a wide spectrum of artistic practice, craft materials are in vogue, with Sarah Sze, Tom Friedman, and Jim Lambie among the many prominent artists using handworked odds and ends such as drinking straws, sugar cubes, and Q - tips in their sculptures.