Sentences with phrase «shaped artistic practice»

Abstract painter Sam Peacock will be giving a short talk on how his experiences of travel have shaped his artistic practice, and changed his colour pallette, followed by questions and answers.

His work in this gap shaped artistic practice for decades to come.

Dr. Pauwels is currently completing her first book on the American artist Napoleon Sarony, whose complex legacy as a printmaker and photographer illuminates the ways in which commercial art and mass media shaped artistic practice and visual experience in the late nineteenth - century United States.

Humanitarian and ecological concerns have shaped his artistic practice for more than 20 years, whether narrating the lives of fishermen, collaborating with a hospital surgeon, capturing the light and colour of the River Thames, or travelling to a remote part of Scotland to paint a writer's house.

These works play out scientific revelations, shaping his artistic practice while taking on new aspects as they become part of Nasseri's visual and aesthetic experience

Essays by Jo - Anne Birnie Danzker and Erika Dalya Massaquoi, co-curators of the exhibition, reveal the multitude of perspectives shaping artistic practice in Seattle and the global community, while authors Courtney Sheehan and Jennifer Zeyl provide an in - depth view into the city's film and theater communities.

What follows here is a primer on the material and conceptual exchange with technology that is shaping artistic practice.

Not exact matches

Based on the practice of articulation and reinterpretation that has characterised his artistic activity, Add Fuel presents in «Something old, something new, something borrowed» a staging of an intimist nature arranged in a type of idealised and stylised domestic setting — part genuinely cosy, part openly satirical — , that suggests a narrative of decorative contours that aggregates a multiplicity of references, iconographies, and signs which, in one way or another, have contributed towards shaping his personal and artistic identity.

Martin Creed (GB b. 1968), the winner of 2001 Turner Prize, is known for an artistic practice of through minimal means investigate everyday realities, and the visible and invisible structures that shapes our lives.

The Shape of Things» is the second group exhibition at the Dot Project and examines the artistic practice of geometric abstraction in a contemporary context.

I spent about 15 years making them,» he says «One of the things that really excites me in my artistic practice and being trained as a potter is that you very quickly learned how to make great things out of nothing... As a potter you also start to learn how to shape the world.»

His was one of the most critical and persistent voices during the AIDS crisis and arguably the one whose theoretical insights most shaped the development of activist artistic practices, even beyond the confines of queer and AIDS politics (e.g. AIDS Demo Graphics, 1990; Melancholia and Moralism: Essays on AIDS and Queer Politics, 2004).

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

Bildungsroman, the title of the exhibition, makes use of the literary term for a coming - of - age novel, thus reflecting how the constellation of works can be read as a journey in the shaping of Barney's artistic practice.

Becoming a vital part of their practice, it also shaped their further artistic output.

It maps out current active agencies that gentrify the city and zooms in on artistic practices that expose and shape forms of social, ecological and economic activation and de-activation of urban space.

Taking its cue from the recently published book Avant - Garde Museology, the symposium will address the memory machine of the contemporary museum vis - à - vis its relationship to the contemporary artistic practices, sociopolitical contexts, and theoretical legacies that shape and animate it.

Dead Lands engages with identity conflicts and their manifestation in contemporary work; the exhibition and its public programming will open this conversation to an international audience, focusing on artistic practices that uncover identity shaped through land, both concrete and imagined.

The Norton Simon Museum presents Taking Shape: Degas as Sculptor, an illuminating exhibition that explores the compulsive nature of Edgar Degas's artistic practice.

Pasadena, CA — The Norton Simon Museum presents Taking Shape: Degas as Sculptor, an illuminating exhibition that explores the improvisational nature of Edgar Degas's artistic practice and considers the affinities between sculpting, painting and drawing in his oeuvre.

The three exhibitions, Tacita Dean: Landscape, Portrait, Still Life, shaped by Dean's response to the individual character of each institution, will explore genres traditionally associated with painting — landscape at the Royal Academy of Arts, portraiture at the National Portrait Gallery and still life at the National Gallery — seen through the contemporary prism of Dean's wide - ranging artistic practice.

The gallery's program is rooted in the belief that artistic and curatorial practice plays a vital role in catalyzing cultural dialogue, while shaping our understanding of individual identity and social contexts.

The dual nature of this approach provides the museum with a diverse range of holdings and opportunities to display histories of recent artistic practice that are disparate, divergent, and reflective of the broader range of identities, disciplines, and forms that give shape to an idea of contemporary life.

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.

From the concept of an «Imperfect Chronology» to the debate on Modernism's alternative histories and how they have shaped contemporary artistic practice in the Arab world, the event unpacks definitions of «Arab art», considering its diasporic and multiple identities.

In order to uphold the principal and constitutional idea of «perception», the visual language used by LeWitt was reduced to a fundamental basis, creating varying sequential structures with basic geometric shapes, thus radically eliminating the uncontrolled variable, namely his personal feelings, from the artistic practice.

Instead, his curatorial approach highlights the challenge of artistic self - determination within a cultural terrain shaped by inherited terms, such as «outsider,» which belie such diverse practices.

Meireles's artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and «70s, and by the Neo-Concretist and avant - garde artists Lygia Clark and Hélio Oiticica.

Reid has often spoken about how his artistic practice and daily life shape and inform each other.

Basing his artistic vocabulary upon the shapes, forms and letters of Microsoft Word, Guyton has successfully embraced the role of chance and accident into his practice.

Its focus on artistic programmes will enable different actors to expand on present - day research interests, modes of production and display, and how these curatorial practices can shape the institution that generates them.

Nevertheless, the immense impact of such viewing from a distance and across borders on the shaping of aesthetic and political values that underpin contemporary artistic practice in a global arena comes into sharper relief.

Exploring these ideas through contemporary artworks made between 1964 and today, Franklin Street Works presents Slipstreams: Contemporary Artistic Practice and the Shaping of Time, curated by Terri C. Smith and Joseph Whitt.

A casual community, a network of acquaintances, and an underground economy, the exhibition suggests, were as crucial in sustaining the lives of these then little - known artists as they were in shaping their burgeoning artistic practices.

An exploration of the various ways in which sensibility is shaped, which is generated, expressed and understood in artistic practices and divergent modes of thought and reflection as arising from and in works of art, while recognizing the multiple connections that can be established between art, philosophy and politics.

The critique and deconstruction of the modern canon has shaped both artistic practice and theory over the past three decades.

The critical resonance of a specifically African — and black — feminism, together with the spread of artistic practices to international networks, have given shape to the development of a black feminist art.

Looking at the art of queer artists over the last couple of years, two things stand out to me: the role of AIDS and its impact on queer Latinx artists of my generation, and how social media shapes the current discourse, networking, and exploration of artistic practice.

The first installment of Art In The Age Of... focuses on how forms of energy and raw material shape, or are narrated by, contemporary artistic practices.

It deals with a generation that is facing falling expectations for individual and collective well - being, while at the same time being confronted in the professional sphere with a panorama in which academic, cultural and commercial interests overlap with each other, confusing the real value of artistic practice: namely, giving shape to visions that are capable of bestowing a different meaning on their historical circumstances.

Rokeby's artistic practice is focused on the social, technological and scientific trends that are converging to shape a new conception of what it means to be a human being.

The Project's many elements underscore how the fluid nature of information shapes our understanding of reality and truth, an exploration which lies at the core of Kaufman's artistic practice.

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.

It is at the moment primarily a discursive and / or artistic practice; this is where our primary interventions lie, with the ambition that this work will have effects on what thought and feminist practice shape up to be, and in turn how people act in the world.

Curated by Stefano Raimondi, the exhibition staged by GAMeC showcases a series of historical works to offer an intimate yet broad introduction to Johnson's artistic practice, with an aim to enter into a fascinating network of formal and narrative stratifications, suggestions, and personal or historical experiences that shape his work.

Third were the thematic issues — Issue 2.6 / Food and Issue 2.15 / Performance: The Body Politic — and the thematic features that unfolded over the course of the year: Bruno Fazzolari's conversation series investigating abstraction and the terms on which it is defined or negotiated in contemporary artistic practice; Elyse Mallouk's Landfill series, which triangulates with a print journal, quarterly subscription, and website, all of which archive and redistribute the materials produced by socially engaged artworks; and Zachary Royer Scholz's series about the historical and contemporary economic, political, technological, and cultural factors that shape the visual arts in the Bay Area and its possibilities for the future.

Ryman's introduction to artistic practice within the (white) walls of MoMA, Hudson contends, was shaped by an institutional ethos of experiential learning.

Melanie Bonajo's artistic practice is shaped by her critical stance towards the state of our world.

He made his artistic practice more public and accessible, involving the students in shaping their own representations and working in a semi-public studio.