Sentences with phrase «social identities of the artist»

The exhibition considers acts of inhabitation, borrowing, and trespassing that locate the artwork as a facilitator of exchange, able to divert the viewer or collector into relationship with the political and social identities of the artist.

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The work on view focuses on artists in the collection whose practices respond to issues of identity, gender, class, power, and the values that contribute to our social fabric.

2009 The Embassy, Curated by Xerxes Cook and Alex Dellal, 33 Portland Place, London, UK Artists» Art / Artists» Books, Glenn Horowitz Bookseller, East Hampton, NY Elevator to the Gallows, Galerie im Regierungsviertel / Forgotten Bar Project, Berlin, Germany Story without a Name, Curated by Blair Taylor, Peres Projects, Berlin, GermanyPrivate, Con Der Hydt Museum, Wuppertal, Germany The Collectors, Curated by Elmgreen and Dragset, Danish and Nordic Pavillions, 53rd Venice Biennale, Venice, Italy Onedreamrush, Beijing Independent Film Forum, Beijing, China DLA Piper Series: This is Sculpture, Tate Liverpool, Liverpool, UK Mexico: Expected / Unexpected, Tenerife Espacio de Las Artes, Santa Cruz de Tenerif Imagine, There: Three Contemporary Mythologies, A Space Gallery, Toronto, Canada The Porn Identity, Kunsthalle Wien, Wien, Germany The Temptation to Exist: Douglas Gordon, Any Warhol, On Kawara, terence koh, Yvon Lambert Gallery, London, UK KKK: Featuring terence koh, Jeff koons, and Mike Kelley, Mary Boone Gallery, New York, NY A Tribute to Ron Warren, Mary Boone Gallery, New York, NY New York Minute, Macro Future Museum, Rome, Italy Objective Affection, Boffo, Brooklyn, NY Dancing with Rodin, The Brooklyn Museum, Brooklyn, NY Tompkins Square Park Procession, Tompkins Square Park, New York, NY Art History 1642 - 2009, National Arts Club, New York, NY Performa 09, Third Biennial of Visual Art Performace, New York, NY Degeneration / Regeneration, Marina Abramovic Institute, San Fransico, CA Compassion, Curated by AA Bronson, The Institute of Art, Religion and Social Justice, New York, NY Contemporary Artifices and Baroque Difformities, Arcos - Sannio Museum of Contemporary Art, Benevuto, Italy Marina Abramovic Presents..., The Whitworth Art Gallery at the Universtiy of Manchester, UK Get a Rope, Ctrl Gallery, Houston, TX

While portraiture has illustrated political and social circumstances throughout history, the artists in this exhibition try to transform portraiture into a genre that can hold its own weight amongst the innovations of the contemporary art world by using Neel's portraiture as inspiration means to address the complexities of personal identity.

Indeed, the social histories and identity politics explored in work made during the Civil Rights, Black Power, and Black Arts Movements is being investigated by a new generation of scholars and curators, bringing attention to overlooked artists central to the era, AfriCOBRA artists in particular.

This display encompasses many artists taking different political positions and of differing identities and backgrounds, but a lot of the work on display is looking at how social and political experience is reflected in broader visual culture, including pop culture.

Artist Dorit Cypis» FabLab (looking for patterns), is a living laboratory centered around Cypis» research and reflection on her past 30 year artistic practice of exploring the psycho, physical, social and political implications of identity and social relations.

Adam Helms, a Brooklyn - based artist, uses historical photographic portraits and western iconography to investigate archetypes of social and political identity.

Spanning a broad gamut of themes and applied constructs, the show includes such as early works as shots taken in Nadar's 19th century Parisian studio, of the mime artist Charles Deburau posing as Pierrot the clown (an example of a performance played out purely for the camera); through the theatrical and conceptual work of Carolee Schneemann and Paul McCarthy; nuanced developments of self - identity in the work of Marcel Duchamp, Cindy Sherman and Andy Warhol; and onto the hyper - contemporary world of selfies and social - media disseminated flotsam.

The artist complicates the social construction of identity and representation when she casts aluminum and polymer clay earrings, paints them gold, and spans their hyperbolic 24 ″ inch diameters with phrases including «La Chinita» and «No se habla Chinois o Japonais.»

Against this backdrop, a new generation of black and Asian artists, writers and curators began to respond to the political, social and sexual issues of the day, getting together to create exhibitions and develop subversive strategies, and to produce art, film and literature that reflected their diverse identities and experiences.

From Claudia Hart's critique of digital technology and the misogyny of gaming and special effects media to Carla Gannis's performance video where the artist competes with her virtual self; from Cynthia Lin's monumental drawings detailing minuscule portions of skin to Laura Splan's mixture of scientific and domestic in molecular garments and Joyce Yu - Jean Lee's challenge of conventional viewing perspectives; from Christopher Baker's examination on participative media to Victoria Vesna's collaborative project on social networking, identity ownership and the idea of a «virtual body» — the show guides the viewer through an array of captivating approaches that challenge not only current media ideologies but also conceptual paradigms underlying today's digital art, the question of disembodiment and post-humanism in particular.

Yet while the official art - historical narrative of that generation — Basbaum's peers include Beatriz Milhazes, Leonilson and Barrão, who came of age during the emergence of Brazilian democracy — highlights an almost postpolitical identity in which art is primarily a mode of self - expression as opposed to a form of social consciousness, Basbaum's sculptures, drawings, photographs and actions see the artist tie self - affirmation to the notion of the (still) political subject.

By focusing on specific periods, the curators are able to delve into the political and social realities that shaped American identity across these decades, and to unearth the distinct relationships, imagery, and themes that characterized the work of many major artists engaged with creating new modes of portrayal.

Showcasing over thirty contemporary artists based in Canada, Denmark, and The United States, the exhibition highlights the presence of characters in each artists» work and their function as a means to explore identity and ideas of beauty as a social commentary.

Convening luminary artists, curators, researchers, and writers to discuss how technology is transforming culture, the first edition of Open Score will consider how artists are responding to new conditions of surveillance and hypervisibility; how social media's mass creativity interfaces with branding and identity for individual artists; how the quality and texture of art criticism is evolving in a digital age; and what the future of internet art might be in light of a broader assimilation of digital technologies.

An army of beautiful monsters are the fable of the artist and his surroundings: the embryonic sexuality of nature as the social construct of identity -?

At the heart of his work lies a strong interest and commitment to social issues of race, gender, identity and post-colonial politics, whilst maintaining a valuable self - critical perspective on the role of the artist in contemporary culture.»

Of the ten participating artists, Eduardo Abaroa, Minerva Cuevas, Paulina Lasa, Teresa Margolles and Tercerunquinto have traveled to Marfa for research visits, to get a sense of the town's unique social context within which issues of power and identity are increasingly pressinOf the ten participating artists, Eduardo Abaroa, Minerva Cuevas, Paulina Lasa, Teresa Margolles and Tercerunquinto have traveled to Marfa for research visits, to get a sense of the town's unique social context within which issues of power and identity are increasingly pressinof the town's unique social context within which issues of power and identity are increasingly pressinof power and identity are increasingly pressing.

in «gulp», austrian - born artist erwin wurm introduces the theme of the social envelope — cars, clothing, food, houses, furniture — in order to annotate the fragility of both the individual and collective identity behind it.

Those familiar with the artist's online animated identity know that the themes of cultural positioning, social anxiety and peer pressure are hallmarks of the concepts explored in the ongoing narrative he posts across a range of social media.

Featuring more than 150 works by over 60 artists, many on display in the UK for the first time, Soul of a Nation will be a timely opportunity to see how American cultural identity was re-shaped at a time of social unrest and political struggle.

Explorations of the theme are not limited to one's home or family, but also include notions of cultural and social identity — which, through the exhibition's selection of international artists, present «home» as something endlessly varied and intriguing.

This panel will discuss drawing's unique potential as manifested in Kara Walker's work, as well as that of other contemporary artists who use drawing to reframe social identity as it intersects directly with politics.

The aesthetics of record collecting are a lingua franca for many contemporary young male artists exploring their social and creative identity.

Designed by the artists to include a site - specific sculpture on FLAG Art Foundation's outdoor terrace, overlooking the Hudson River, the show addresses existential issues linked to identity, sexuality, and mortality, as well as an examination of social value systems and the expectations that surround them.

Disturbing Innocence features over fifty artists using surrogate imagery such as dolls and mannequins to pose questions regarding the «social constructs of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness.»

The exhibition spans three galleries within the Zaha Hadid - designed museum, anchored by overarching themes within each: «Shifting Identities» explores how a changing China alters constructions of identity; «Body as Site» focuses on the physical body as a literal and figurative site of discussion and debate; and «Confronting Tradition» highlights the ways in which artists draw inspiration from classical texts, teachings, and artistic practices to reinterpret and question evolving power structures and social norms.

The artists featured in Fire Within confront ideological, cultural, and social topics throughout their work — including the changing perceptions of cultural and gender identity, social dynamics and status, and traditional values and belief systems.

Throughout the 20th century and into the 21st, artists from Latin America have embraced photography as a means of capturing their surroundings, documenting episodes of social injustice and political upheaval, and constructing images of national identity.

Performa 17 demands close considerations of today's most pressing social issues, tackling the multiplicity of African identities, how performance is shaped by the built environment and vice versa, and how Dadaism remains salient in the subversive consciousness of contemporary artists.

Examining over 25 years of his artistic career, this uniquely designed catalogue weaves together the voices of many to situate the artist's work within issues of identity, social activism, illness, beauty, generosity and death.

Uniting the perspectives of contemporary artists of African descent who investigate social identity.

Katy Siegel, BMA Senior Programming & Research Curator and Thaw Chair in Modern American Art at Stony Brook University added: «As the exhibition title suggests (in Édouard Glissant's powerful, poetic phrasing), these artists confront with bravery and creativity a tension we all feel, most especially African Americans, between the «solitary» — being specifically, uniquely and only oneself — and the «solidary» of a group's collective social identity.

As the debates among artists and intellectuals around a «racially representative art» shifted to discussions about social responsibility and a «folk» identity, artists like Aaron Douglas increasingly turned to the public arena as a means of addressing art and life in the 1930s.

Building from words, images, and sounds found in the Arts Bank's collections, themes of assimilation, language, social identity, spirituality and political power are explored through participating artists» original... Learn More

Many artists now use portraits to comment on larger issues, such as individual identity, social inequities, politics, celebrity obsession — and the genre of portraiture itself.

Korea - born New York artist Nikki S. Lee was far more than a stand - in when, between 1998 and 2001, she had onlookers snap her picture to mark her infiltration of clannish social groups — sex workers, hip - hop kids, seniors — to which she would not ordinarily gain entrance, relinquishing her natural identity while firmly remaining in her role as an artist.

Most of the artists represented in Zooming into Focus live and work in China's swiftly expanding southern megalopolises and frequently address those issues that directly affect young urbanites — the social impact of burgeoning consumerism, the meteoric rise of youth culture, the threatening loss of identity amidst the city swirl, the persistent sense of time speeding by.

The artists will be taking over the walls, floors, and social media of Turf Projects, submerging all aspects of the gallery's identity into their overzealous and sensational aesthetic.

Main Gallery: Neil MacInnis Montreal artist Neil MacInnis seeks to reactivate the form of textiles as a means to provide a social context in which communities may express their identities and tell their stories.

Her work based on what she refers to as «memory theatre,» and continues to expand artistic notions of identity, social politics and the role of the Aboriginal artist in a marginalized world.

Defined as one of the most representative artists in the Spanish art scene at the moment, Albarracín explores in an ironic and intelligent way the social stereotypes linked to her Andalusian origin and identity, the flamenco and the bullfighting.

«Force and Form» brings together a group of artists whose practices recognize a shift in visual culture as it addresses issues of identity, gender, class, power, and the values that contribute to our social fabric.

Contemplating both the universal norm that regards portrait photographs as the physical description of personal identity and the history of Hong Kong photography starting from the mid-19th century, this exhibition presents the perspectives of the two artists, who carve out both visible and invisible portraits of individual / communal and social / historical stories.

Further information for Editors: SEAMUS NOLAN Seamus Nolan is a Dublin based artist whose work practice explores the legitimacy of its own appropriation, interrogating the fabric of our social and cultural make up, to reveal the narrative of identity formation within common materials and activities.

With an interest in the thematic exploration of self and other, present and past, identity and gender, the artist explores the polarities of the colonized self with a social and political conscience.

Moscow performance artist Elena Kovylina exhibits a video work that examines post-Cold War Russia and its similarities to a post-colonial state; UK photographer Ellen Nolan asks what we mean by personal «identity» within a social system; and conceptual artist Flavia Muller Medeiros looks at the contemporary phenomenon of cross-cultural migration between Eastern and Western Europe.

Alison Saar creates artworks that reflect themes of cultural and social identity, history, and religion, and reflecting the plurality of her own experiences as a black woman artist.