Sentences with phrase «such an exhibition strategy»

While it may be easy to declare that the individual works of each artist suffer as a result of such an exhibition strategy, doing so would only reaffirm the monolithic model of the gallery group show, one where works are curated in a typical — yet hierarchical — fashion.

Not exact matches

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So although I did several group exhibitions at Thread Waxing Space that I feel really proud of, exhibitions that were in conversation with exhibitions that had come before, such as Christian Leigh's I am the Annunciator, I wanted to talk back to certain curatorial strategies.

Far from ignoring the lessons of Duchamp, such a treatment of paint was derived from an understanding of his predecessor's artistic strategies, to which Rauschenberg had his first in - depth exposure in the spring of 1953 at Sidney Janis's exhibition, Dada 1916 — 1923.8 Throughout that year, he explored various precedents set by the older artist.

Moreover, it seeks to question how such a role affects the definition of the profession and discipline, and how the curator, forced to operate within the framework of the culture industry and negotiate elements such as entertainment, distraction, and mass consumption, can withstand these external conditions and invent strategies of resistance and critique within the format of the exhibition.

The complexity at work here is an intentional part of the exhibition's curation: «I would argue that the strategies the show's artists use for grappling with such issues goes beyond the kinds of mirroring or enhancing of the aesthetics of such systems that have become standard of much of contemporary art today,» Malick elaborates.

As the Stedelijk's Public Program was established in a period during which the Stedelijk was reinventing itself prior to the grand re-opening in September 2012 (during the Temporary Stedelijk series, in which the Stedelijk functioned as a temporary, nomadic institution), this new curatorial model of public programming could be freely experimented with, leading up to pertinent questions as how public programs relate to other institutional structures and programs (such as education) and exhibitions, as well as questions regarding the curatorial strategies involved in public programming, audience outreach and the Stedelijk's relation to its building and histories.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

The exhibition's second section, «Legacy,» explores Lawrence's own influence on contemporary artists who share similar formal and conceptual strategies and themes, and includes commissioned works by artists strongly influenced and inspired by Lawrence such as Derrick Adams, Meleko Mokgosi, Barbara Earl Thomas and Hank Willis Thomas.

Franklin Street Works will be working with five New York City - based guest curators in 2017 and 2018, originating six new group exhibitions around themes such as: shared strategies of the labor and LGBTQ movements; economic and political refugees; ways artists animate desire in abstract painting; art that explores political and personal paranoia; and more.

WNTRP opens specifically for artistic strategies that question the possibilities and limitations of the exhibition space as such.

He attended with his dissertation topic Agonistic exhibition strategies of a hegemonic exhibition complex: About the politics of the 13th Istanbul and the 7th Berlin Biennial, included at several symposiums such as: When exhibitions become politics.

And exhibitions such as «St. Petrischnee» or Mark Leckey's, which transport counter-cultural strategies and aesthetics into the museum context, thereby challenge the genesis of artistic strategies as well as the innovative power of social movements.

Works in the exhibitions draw on popular imagery such as a multi-coloured Popeye, adopt the strategies of medical technologies, incorporate the production of perfume, operate on solar power or reconfigure the operation of clocks.

The artists represented in the exhibition, with their very distinct approaches, recast Minimalist forms and strategies — repetition, the grid, geometry — in such unorthodox materials as cosmetics and velvet.

Culture: Promoting importance of cultural, ceremonial and contemporary activities in the practice of Indigenous culture and tradition via strategies such as establishing a Cultural Centre that reflects the broader Indigenous community through activities and exhibitions, and supporting the growth, self - management and protection of the Indigenous art industry.