Sentences with phrase «public art organization creative»

In April, he'll be honored at a gala by the public art organization Creative Time, and he'll have shows at the Brant Foundation Art Study Center and, Mr. Schnabel said, Gagosian Gallery in the fall.

Pasternak is, in her own words, a «populist,» one who's decorated career includes staging Paul Chan's Waiting for Godot in New Orleans and helping to organize Kara Walker's sugar sphinx in Williamsburg, all under the auspices of the public art organization Creative Time.

Prior to Performa, he worked at the public art organization Creative Time; his recent projects include the first New York public art quadrennial, Plot09: This World & Nearer Ones; Hey Hey Glossolalia: Exhibiting the Voice, and the Russian and South American touring show Electric Earth: Film & Video from Britain for the British Council.

Previous winners of the Meadows Prize were Grammy - winning contemporary music ensemble eighth blackbird and New York - based public arts organization Creative Time (2010); playwright and performer Will Power and choreographer Shen Wei, artistic director of New York - based Shen Wei Dance Arts (2011); Tony - winning playwright and screenwriter Enda Walsh and choreographer Michael Keegan - Dolan, artistic director of Dublin - based Fabulous Beast Dance Theatre (2012); violist Nadia Sirota and socio - political artist Tania Bruguera (2013); and choreographer and founder of Urban Bush Women Jawole Willa Jo Zollar (2014).

Arts & Labor was able to broker participation in a panel, organized as part of the «Frieze Talks» program, that brought together Nato Thompson, a curator at the public arts organization Creative Time, and Suzanne Lacy, the activist artist and professor at Otis College in California.

Tapped by the non-profit public arts organization Creative Time, Walker was given an enormous stage to flesh out her in - your - face ideas, but one that will be destroyed with the factory when the show ends in July.The site of the plant will be home to high rise apartments and condos.

Not exact matches

After working for about four years at Creative Time, New York City's vanguard public art organization, I was inspired by the artists I collaborated with and their work addressing social and civic issues.

In September 2001, LaVerdiere and fellow artist Paul Myoda collaborated with a team of architects, public art organizations including Creative Time and The Municipal Arts Society and The New York City Mayor's Office, to create The Tribute in Light.

Creative Time, a public art organization, commissioned Walker to create a work in the abandoned space before it is transformed by developers.

CREATIVE TIME, THE PUBLIC ARTS ORGANIZATION that commissioned Kara Walker's monumental, sugar - coated sphinx / mammy sculpture in Brooklyn and Nick Cave's choreographed parade of colorful «horses» through Grand Central Station, announced two appointments today — a new hire and a promotion.

Founded in 1973, Creative Time commissions public art projects, collaborating with artists to present ambitious and innovative works guided by the organization's core values: art matters, artists» voices are important in shaping society, and public spaces are places for creative and free expCreative Time commissions public art projects, collaborating with artists to present ambitious and innovative works guided by the organization's core values: art matters, artists» voices are important in shaping society, and public spaces are places for creative and free expcreative and free expression.

The 1,195 grants in this round are distributed under the categories of Art Works II, which funds the creation of art that encourages public engagement, lifelong learning, and community building; Our Town, a creative placemaking program that supports partnerships of artists, arts organizations, and municipal government to revitalize neighborhoods; Research: Art Works; and includes state and regional arts agenciArt Works II, which funds the creation of art that encourages public engagement, lifelong learning, and community building; Our Town, a creative placemaking program that supports partnerships of artists, arts organizations, and municipal government to revitalize neighborhoods; Research: Art Works; and includes state and regional arts agenciart that encourages public engagement, lifelong learning, and community building; Our Town, a creative placemaking program that supports partnerships of artists, arts organizations, and municipal government to revitalize neighborhoods; Research: Art Works; and includes state and regional arts agenciArt Works; and includes state and regional arts agencies.

Consider applying to Creative Time, the arts organization that's funded public arts programs such as Duke Riley's LED - lit pigeons over the East River (above) and Tom Sachs» epic SPACE PROGRAM: Mars.

«I look forward to working with such a dynamic organization as it evolves and continues to challenge the role of contemporary art while fostering creative careers and giving access to the public.»

Creative Time's Anne Pasternak on Public Art — Christopher Tennant has a lively conversation with the New York nonprofit's founder that touches on the success of Nick Cave's recent Heard NY performance as well as the organization's adventurous Artists on the News publication.

Rodrigues Widholm has served as a juror and panelist for numerous organizations including the Headlands Arts Center, Creative Capital, New American Paintings, and been a visiting critic, graduate advisor, given numerous public talks, and has written extensively on contemporary art.

Using the Art Center as a model for how an arts institution can occupy the space of the middle to foster intercommunity connectivity and spur creative production, public programming and a printed catalogue will accompany the exhibition to offer analyses of how mid-sized organizations can serve and engage audiences.

Today's funding trends such as Creative Place - making, made possible through partnership enterprises among foundation, governmental, and financial - sector support, such as ArtPlace America, are concentrated on giving art and artists opportunities in diverse communities yet also require artists and arts organizations to think through an entrepreneurial frame by integrating their initiatives into their community's economic development and community revitalization strategies and having the potential to attract additional private and public support of the community.3 Is this a worthy challenge of contemporary arts insularity or does it discount subversive and against - the - grain art production, made by and for art communities, including that which is made within and by these same diverse communities that are being targeted by new funding initiatives as in need of help in the form of artistic interventions?

Almost two years ago, WonderRoot approached the artist about taking the creative lead of the organization's ambitious public arts initiative known as the En Route program.

Creative Curricula was a local arts - education funding program open to cultural organizations and to teaching artists working in partnership with Manhattan public schools.

As director, and previously as general manager, of Experimenta Media Arts in Melbourne, Australia, Mizuik has been instrumental in shaping that preeminent media arts organization's activities, including strategic and creative planning, curation and the implementation of a range of artistic, public and educational progrArts in Melbourne, Australia, Mizuik has been instrumental in shaping that preeminent media arts organization's activities, including strategic and creative planning, curation and the implementation of a range of artistic, public and educational prograrts organization's activities, including strategic and creative planning, curation and the implementation of a range of artistic, public and educational programs.

As an organization dedicated to art in the public domain, Creative Time has set the precedent and continues to push the parameters of art today.

Since 1994 Anne Pasternak has served as President and Artistic Director of Creative Time, a New York — based public arts organization that has a history of commissioning, producing and presenting adventurous public artworks.

Over the years, Open Engagement has been made possible by invested students, educators, artists, community members, and local organizations and businesses, alongside the generous support of: A Blade of Grass, Arizona State University, Big Car Collective, Frank - Ratchye STUDIO for Creative Inquiry, Lewis and Clark College, Limerick School of Art and Design, OTIS College of Art and Design, Pacific Northwest College of Art, Portland Art Museum, Portland State University, Queens Museum, Regional Art and Culture Council, SPARC, Social Sciences and Humanities Research Council of Canada, Southern Methodist University, The Carnegie Museum of Art, The Dunlop Art Gallery, The Heinz Foundation, The Office of Public Art, The School of Art at Carnegie Mellon University, The Sprout Fund, TriMet, University of Queensland, and University of Regina.

In 1997, he founded the Center for Urban Pedagogy (CUP), a New York City nonprofit organization that uses the power of design and art to improve the quality of public participation in urban planning and community design, where he was the Creative Director for 10 years.

In September 2001, LaVerdiere and Myoda collaborated, along with a team of architects and public art organizations including Creative Time and the Municipal Arts Society, to create Tribute in Light, a light memorial for the victims of the World Trade Center collapse.

Creative Time, a New York - based organization that produces public art projects internationally,...

«Canada has a rich cultural heritage of literature, music and fine art that is in the public domain just waiting to be freely enjoyed,» said Marcus Bornfreund of Creative Commons Canada, a non-profit organization that works in collaboration with Creative Commons US.

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