Sentences with phrase «recent performance art»

Instead of including only recent performance art and earlier artist projects with full documentation so viewers could witness the action - based art for themselves, exhibition curator Andrea Grover selected works important to the developing art movement, tracing its course from its roots in the»60s to the present day.

Come September, Stuart Comer, who is currently the film curator at the Tate Modern, will be assuming the new role of chief curator of media and performance art at MoMA, an institution that's seen a considerable amount of success with its recent performance art initiatives like Marina Abramovic's «The Artist Is Present,» among others.

Exhibits of her work have included an entire exhibited dedicated to artwork with her as muse, including numerous self portraits at Rox Gallery as well a recent performance art installation at The Hole Gallery, Natalie White For Equal Rights.

Not exact matches

In recent years Paul McCartney has made several trips to Queens for performances at Shea Stadium and Citi Field and for a recent visit to the Frank Sinatra School for the Arts in Astoria, where he performed for and took questions from students.

That critique comes to the fore in a brilliant, Buñuelian performance - art sequence that will lodge itself in your brain for days, built around a terrifying turn by Terry Notary, whose animal / creature motion - capture work you may have seen in «Kong: Skull Island» and the recent «Planet of the Apes» movies.

Recent art and performance works include Somalia's Balloon, Lablaab the Spill, Drones and Fargans, Isug, and Corn for Ayayo.

Our findings are consistent with those of a recent study by Richard Patterson and Robert Patterson, which found that in - class computer usage reduces academic performance by between 0.14 and 0.37 points on a four - point grade scale among undergraduate students at a private liberal - arts college.

A recent free white paper by Obsidian Learning, Cracking the Mobile Learning Code: xAPI and cmi5, co-authored with Art Werkenthin of RISC, Inc., discusses how mobile technologies can support both formal and informal learning in instructor - led training (ILT), web - based training (WBT), blended learning experiences, and on - the - job performance support.

«This recent drop in arts entries is driven by several factors, including changes to the way school performance is measured, financial pressures on schools, and, of course, local decisions taken by school leaders.»

Schools participating in SQII receive a composite SQII performance score from 0 — 100 that still reflects academic performance based on the most recent tests on the Common Core math and English language arts standards.

The 2015 Acura TLX is a true luxury sport sedan, so it is fitting that the car be raced against several of its natural competitors, and even some up - market brands, in the Pirelli World Challenge,» said Art St. Cyr, President of Honda Performance Development and Vice President, Product Planning and Logistics, American Honda, in a recent statement.

Not only was the Focus featured in the Ford booth at last year's SEMA Show, but this fine - tuned work of art also held it's own against high - performance European sports cars a recent Targa Trophy road rally in San Diego, CA.

So it should come as little surprise that a key analyst, Janco's Michael Hickey is suggesting that Spore's publisher, Electronic Arts, recent share under - performance (Ea closed at a 52 week low recently) could be due to the title's unexpected delay from Q1 to Q3.

Mark Beasley, the Robert and Arlene Kogod Secretarial Scholar and Curator of Media and Performance Art, has programmed the Washington, D.C., debuts of five video installations from recent biennials, which are to be experienced in the following sequence: Camille Henrot's Grosse Fatigue (2013), a transcendent and lyrical multilayered rumination on the creation and organization of the universe, conceived during a residency at the Smithsonian; Hito Steyerl's How Not to Be Seen: A Fucking Didactic Educational.

Highlights of the display include Yvonne Rainer's RoS Indexical (2007), a reworking of Igor Stravinsky's renowned ballet The Rite of Spring; Mike Kelley's Extracurricular Activity Projective Reconstruction # 32, Plus (2009), referencing the bizarre theatrics of high school revelry; Elmgreen and Dragset's institutional - critique play entitled Happy Days in the Art World (2011); Ragnar Kjartansson's twelve hour long performance Bliss (2011); and Oscar Murillo's Lucky Dip from the most recent biennial in 2015, which critically investigates the development of international trade.

Recent group exhibitions include The St. Petersburg Paradox at the Swiss Institute for Contemporary Art, New York (2014); Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama — Manhattan, 1970 — 1980 at the Whitney Museum of American Art, New York (2014); and The Pictures Generation 1974 — 1984 at Metropolitan Museum of Art, New York (2010).

Recent exhibitions and performances include Jordan Schnitzer Museum of Art, Eugene, OR; Socrates Sculpture Park, New York, NY; MoMA PS1 Contemporary Art Center, New York, NY; and the Knockdown Center, Queens, NY.

Recent performances include The Solomon R. Guggenheim Museum, New York; The Art Institute of Chicago with Das Institut and United Brothers; Issue Project Room, Brooklyn, with Woody Sullender; the 30th Bienal de São Paulo with Jutta Koether and Yuki Kimura; Gavin Brown's Enterprise, New York; with Das Institut and United Brothers.

Recent exhibitions include his solo show Potential Difference at the Agnes Varis Art Center, Urban Glass, Brooklyn, NY (2014), as well as group exhibitions including the SIKKA Art Fair, Dubai, UAE (2016), Perched in the Eye of a Tornado, Ying Space, Beijing (2015), A Personal Thing, 184 Project Space, Brooklyn, NY (2014) Come Together: Surviving Sandy, Industry City, Brooklyn, NY (2013), Body And Material, Greenpoint Film Festival, Brooklyn, NY (2012), Fractured, performance at the Chrysler Museum of Art, Norfolk, VA (2011), -LCB- Superposition -RCB-, Hyperopia Projects, Seattle, WA (2011), Art Here Art Now, University of Chicago / HyPa, Chicago, IL (2011), The Post - Glass Video Festival, Heller Gallery, New York, NY (2010), A Thin Veneer, RISD Museum, Providence, RI (2009).

2012 - 2013 syzygy, project space in a social housing flat in Elephant and Castle, hosting 8 residencies, workshop programs and curated exhibitions with invited UK and international artists, London 2011 - 2016 In The Company of Elders, reflections and performance with a group of Elders, London / Bath AWARDS AND GRANTS 2014 FreeSpace, awarded for impact and participation in The Big Lottery National funding Awards Wenlock Barn TMO, winners of national TMO Awards for involving community through Fourthland projects Awards for All funding, Wenlock Barn Estate, Meeting House 2011 - 2013 Big Lottery Funding, The Back Garden and Public Program, Wenlock Barn Estate 2010 - 2011 Big Lottery Funding, The Growing Kitchen Community, Wenlock Barn Estate 2008 - 2010 Shoreditch Trust Commission, The Growing Kitchen, Wenlock Barn Estate 2009 University of East London, Funding, Making architecture TEACHING 2015 Visiting Artists, Bergen Academy of Art and Design Norway Visiting Artists, CASS School of Art and Design Louise isik Sayarer (1982, British / Turkish) EDUCATION 2007 - 2011 BA Fine Art part time, Sir John Cass school of Art and Design, London 2006 Foundation in Art and Design, Sir John Cass School of Art and Design, London 2002 - 2005 BSc / BA Environmental Science and Development Studies, University of Sussex 2000 BTEC level 3 Tropical Habitat Conservation Madagascar Recent Training 2016 - 2017 Shakti dance 2015 - 2016 Dancing Tao - Movement Medicine circle Previous work 2008 - 2015 Artist associate SASA Works Architecture 2010 - present Bow Arts Trust, Education Artist 2007 - 2008 Education Officer Chelsea Physic Garden 2006 - 2007 Education Officer The Wildlife Trust 2005 Research associate Ethnomedica, Kew Gardens Eva Knutsdotter Vikstrom (1985, Norwegian / Swedish) EDUCATION 2009 - 2011 BA Fine Art, Sir John Cass school of Art and Design, London 2004 - 2005 Foundation in Art and Design, Einar Granum School of Art, Oslo Recent training 2015 - 2016 Kundalini Yoga teacher training Previous work 2014 - 2016 Art director for Ale Tarraf's feature film «Yupanqui» 2009 - 2011 The Readers performance Group LANGUAGES English Norwegian Swedish Spanish

In more recent years Linder has worked with performance art, photography film and the object.

It begins with her early choreographic works and pioneering video performances, such as the Organic Honey series, and culminates with her most recent piece They Come to Us without a Word, which was presented in 2015 at the Pavilion of the United States for the 56th edition of the Venice Biennale, and will premiere in North America at DHC / ART.

Her recent exhibitions include «Foon Sham: Escape» (American University Museum, Katzen Center), «Barbara Liotta: Tower in Three» (Glen Echo Park), the «National Drawing Invitational» (Arkansas Arts Center), «CSA: Forty Years of Community - Sourced Art» (Arlington Arts Center, VA), «Frances Gallardo: Meteorology» (Torpedo Factory, VA), «Wilmer Wilson IV: the FOREVER Aftermath» with the programming «Performance: Aftermath» (Artisphere, VA), and «Sculpting Outside the Lines» in Foggy Bottom.

Baltic Centre for Contemporary Art in Gateshead are hoping to secure as many as 600 members of the public for a performance of On Kawara's One Million Years The recent host of the Turner Prize, the Baltic Centre for Contemporary Art in Gateshead is looking for as many as 600 volunteers to help the performance of On Kawara's One Million -LSB-...]

The show draws a line from her performance art to the recent video game, and from her scandalous operations to her artistic and human positions regarding the current social and cultural context.

Likewise, there's nary an art fair nor biennial free of performance offerings — even from artists whose practices aren't focused on the medium, like conceptual practitioner Rashid Johnson's recent restaging of the grandfather of midcentury performance art Allan Kaprow's 1970 Sweet Wall, or even social - practice popularizer Theaster Gates's recent in - situ pottery presentation at the Istanbul Biennial.

J.J. Charlesworth's UK election special with a brief history of artists who have tried to work out which way the wind is blowing; Maria Lind goes in search of where things are really happening at Documenta 14 in Athens; Heather Phillipson considers interspecies empathy while watching Fevered Sleep's most recent performance; Jonathan T.D. Neil on the banal, the extreme, and the high commercial theatre of the art market.

Recent projects include «Not Alone» at Stephen Friedman Gallery, London (2015), «So Sorry» performed at The Power Plant Contemporary Art Gallery, Toronto (2015); «FECUNDITAS and Creation», for Performa, the New York performance - art festival, New York (2014 and 2009); «Brad Jones - Diptychs» in collaboration with Brandi Twilley at Sargent's Daughters, New York (2014); «Engagement», her iconic waxwork of Prince William, at both Stephen Friedman Gallery and the Saatchi Gallery, London (2011); «The de Pury Diptych» at the Saatchi Gallery, London (2010); «Icons» at the Brooklyn Museum, New York (2010); and «Old - Fashioned» at the LA County Museum of Art, Los Angeles (201Art Gallery, Toronto (2015); «FECUNDITAS and Creation», for Performa, the New York performance - art festival, New York (2014 and 2009); «Brad Jones - Diptychs» in collaboration with Brandi Twilley at Sargent's Daughters, New York (2014); «Engagement», her iconic waxwork of Prince William, at both Stephen Friedman Gallery and the Saatchi Gallery, London (2011); «The de Pury Diptych» at the Saatchi Gallery, London (2010); «Icons» at the Brooklyn Museum, New York (2010); and «Old - Fashioned» at the LA County Museum of Art, Los Angeles (201art festival, New York (2014 and 2009); «Brad Jones - Diptychs» in collaboration with Brandi Twilley at Sargent's Daughters, New York (2014); «Engagement», her iconic waxwork of Prince William, at both Stephen Friedman Gallery and the Saatchi Gallery, London (2011); «The de Pury Diptych» at the Saatchi Gallery, London (2010); «Icons» at the Brooklyn Museum, New York (2010); and «Old - Fashioned» at the LA County Museum of Art, Los Angeles (201Art, Los Angeles (2010).

However, the Wexner Center's director of performing arts, Charles Helm, argues that the craze for performance art is «not a recent development.

«New York has a rich history of art and protest through performance, and the art fair is an innately performative space,» Adrienne Edwards stated in a recent announcement.

Recent group shows include Prospect 1.5, Prospect 2 and Prospect 3 New Orleans Biennials; a / wake in the water: Meditations on Disaster at the Museum of Contemporary African Diasporan Arts (MoCADA), Brooklyn, NY; and Radical Presence: Black Performance in Contemporary Art at the Studio Museum in Harlem and the Contemporary Arts Museum Houston.

Informed by the AIDS pandemic and continuously escalating violence throughout the world, some performative art is now explicitly elegiac, as seen in the recent work of Marina Abramovi» c, a pioneer in the field of performance.

During a recent conversation at the Center, our visiting scholar Kristy Edmunds and Philip Bither, Senior Curator at the Walker Art Center, discussed the role audiences play in conserving performance works — what Edmunds describes as «art forms which we can't collect, and preserve, or own.&raqArt Center, discussed the role audiences play in conserving performance works — what Edmunds describes as «art forms which we can't collect, and preserve, or own.&raqart forms which we can't collect, and preserve, or own.»

Recent solo exhibitions include The Trickle - Down Syndrome, Whitechapel Gallery, London, accompanied by a performance during Art Night 2017, and KAPUT, Walker Art Gallery, Liverpool (both 2017); The Saw Tooth Wave, 2016 - 17, Centre for Contemporary Art, Derry ~ Londonderry and Heads May Roll, 2014, Matt's Gallery, London.

Selected recent and upcoming exhibitions include The Waiting Room, New Museum, New York; Greater New York 2015, MoMA / PS1, Long Island City, New York; The Free People's Medical Clinic, Creative Time, New York; I ran to the rock to hide my face the rock cried out no hiding place, Kansas City Art Institute; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston (traveled to The Studio Museum in Harlem, Grey Art Gallery at NYU, and Walker Art Center); Gone South, Atlanta Contemporary Art Center; and You Don't Know Where Her Mouth Has Been, The Kitchen, New York.

Recent exhibitions include a two - person show with collaborator Cara Megan Lewis at Antena Gallery and participation in the Rapid Pulse International Performance Art Festival at Defibrillator Gallery, both in Chicago.

Recent solo exhibitions include Some Were Caught Up, and Some Were Not, Loock Galerie, Berlin; The Invert, Tops Gallery, Memphis; Self Evidence, a performance presented by The University of the Arts, Philadelphia, in association with Pig Iron Theatre Company and New York Performance Art Collective; and a solo project at NADA NYC, presented by 1 / 9unosuperformance presented by The University of the Arts, Philadelphia, in association with Pig Iron Theatre Company and New York Performance Art Collective; and a solo project at NADA NYC, presented by 1 / 9unosuPerformance Art Collective; and a solo project at NADA NYC, presented by 1 / 9unosunove, Rome.

I am also thrilled that we will have two official museum acquisition funds at the fair this year, including the Frieze Tate Fund - this was used to purchase Tate's first - ever performance work at Frieze Art Fair 2004, Roman Ondák's Queue, which was shown for the recent opening of the new extension.

Her recent exhibits include the «CSA: Forty Years of Community - Sourced Art,» (Arlington Arts Center, VA) «Frances Gallardo: Meteorology,» (Torpedo Factory, VA) and «Wilmer Wilson IV: the FOREVER Aftermath» with the programming «Performance: Aftermath» (Artisphere, VA).

2015 dépendance, Brussels Performance Capture, Manchester International Festival, Manchester, UK Concentrations 59, Mirror Stage Visualizes the Self After the Internet, Dallas Museum of Art, Dallas, TX Cabinet, London Recent Ouija, Stedelijk Museum, Amsterdam

Chambers Fine Art presents «Like Moths to a Flame: Recent works by Ye Nan `, a solo exhibition of painting and performance, where Ye Nan (Hangzhou, 1984) combines his creative process with the principle of moths flying into flames, as if to signify some sort of inner connection between his work and the spirit of the moths.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera (through August 23, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he manipulated small books found at flea markets; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; Affinity Atlas (September 5, 2015 — January 3, 2016), inspired by the work of pioneering cultural theorist and art historian Aby Warburg, charts an exploratory path built upon idiosyncratic treasures and contemporary art culled from the Tang's and Skidmore's collections; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes overlooked artist in the first museum survey of her work since 2001.

Recent performances include The Solomon R. Guggenheim Museum, New York; The Art Institute of Chicago with Das Institut and United Brothers; Issue Project Room, Brooklyn, with Woody Sullender; the 30th Bienal de São Paulo with Jutta Koether and Yuki Kimura; Gavin Brown's Enterprise, New York; with Das Institut and United Brothers.

Recent solo exhibitions and performances include Los Angeles Contemporary Exhibitions (2017); Human Resources, Los Angeles (2016); Los Angeles Municipal Art Gallery (2016); and the Queens Museum, Flushing, New York (2016).

Recent exhibitions include: Gibst du mir Steine, Geb ich dir Sand, Performance Project Liste 17, Basel (2012); NO DANCING, Favorite Goods, Los Angeles (2012); Magicgruppe Kulturobjekt, W139, Amsterdam (2011); Inform.Award, Museum of Contemporary Art, Leipzig (2010).

Some recent examples include: Milwaukee Art Museum 2010 where Gates invited a gospel choir into the galleries to sing songs adapted from inscriptions on pots by the famous 19th century slave and potter «Dave Drake»; the Whitney Biennial, 2010 when the Sculpture Court was transformed with an architectural installation functioning as communal gathering space for performances, social engagement, and contemplation.

Notable names associated with the Kansas City Art Institute include Walt Disney, who took Saturday classes here as a child; painter Thomas Hart Benton, who taught here from 1935 to 1941; multimedia artist Robert Rauschenberg, who studied fashion design at KCAI; sculptor, conceptual artist and writer Robert Morris; celebrated, present - day performance artist, noted fabric sculptor and more recent KCAI graduate, Nick Cave, and the list goes on.

Marina Abramovic condemns mainstream appropriation of performance work, and reveals her mission to educate the world about real performance art Speaking in a recent interview with the Huffington Post; «I get so angry and fed up with the situation, how performance art is treated, because you know, since 80s and 90s and now, the performance -LSB-...]

Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 30?

Their most recent work «Drift» premiered at Abrons Arts Center as part of NDA's 30th Anniversary Performance Mix Festival.