Sentences with phrase «thinking about contemporary art»

Dr Sam Lackey, Curator at The Hepworth Wakefield, will lead a tour around the Aesthetica Art Prize exhibition, to inspire a discussion on ways of talking and thinking about contemporary art.

Not exact matches

About Site - Art21 was founded in 1997 with the mission to increase knowledge of contemporary art, ignite discussion, and inspire creative thinking by using diverse media to present contemporary artists at work and in their own words.

Catharina Manchanda, the museum's curator of modern and contemporary art, said she began thinking about the ideas of history and representation in art during the Obama administration.

2010 was an exciting year for contemporary painting, from a painting - heavy Whitney Biennial, to stand - out works in MoMA PS1 «s Greater New York, to huge showings at art fairs like NADA and Art Basel Miami Beach, and with each exhibition a new way of thinking about the medium itseart fairs like NADA and Art Basel Miami Beach, and with each exhibition a new way of thinking about the medium itseArt Basel Miami Beach, and with each exhibition a new way of thinking about the medium itself.

The field of contemporary art, both in how it's presented and how it's thought about, is now populated by the contributions of older artists made back in the day, as well as the exciting work they are making now.

So, in thinking about the historical spectrum we work with at Tate Britain, I wanted to revive the earlier end of the period, which is somewhat absent at present, while also reinvigorating our work with contemporary art: Art Now, for example, which we're going to accelerate from two to three a yeart: Art Now, for example, which we're going to accelerate from two to three a yeArt Now, for example, which we're going to accelerate from two to three a year.

In its genuine collapsing of the art - life divide and its affirmation of the value of bringing art into unlikely places, the piece reminds me of what I've admired about The Art Guys since, as an art student in Boston in the mid-1990s, I picked up their Contemporary Arts Museum Houston catalog and thought, «There are artists in Houston?&raqart - life divide and its affirmation of the value of bringing art into unlikely places, the piece reminds me of what I've admired about The Art Guys since, as an art student in Boston in the mid-1990s, I picked up their Contemporary Arts Museum Houston catalog and thought, «There are artists in Houston?&raqart into unlikely places, the piece reminds me of what I've admired about The Art Guys since, as an art student in Boston in the mid-1990s, I picked up their Contemporary Arts Museum Houston catalog and thought, «There are artists in Houston?&raqArt Guys since, as an art student in Boston in the mid-1990s, I picked up their Contemporary Arts Museum Houston catalog and thought, «There are artists in Houston?&raqart student in Boston in the mid-1990s, I picked up their Contemporary Arts Museum Houston catalog and thought, «There are artists in Houston?»

MS: This is a question I find tough to answer, but it makes me think about what the conceptual artist Liam Gillick once said: «Contemporary art does not account for that which is taking place.»

For a normal visitor, if he or she wants to understand, they have to understand the artist's thinking or what an artist wants to talk about, then they can enjoy the works as they enjoy other contemporary arts.

«Second Sight challenges us to consider what can be grasped when we think beyond what lies in plain sight, providing a forum for conversations about difference and new scholarship in the politics of race, class, and ability in contemporary art,» said Bowdoin College Museum of Art Co-Director Anne Collins Goodyeart,» said Bowdoin College Museum of Art Co-Director Anne Collins GoodyeArt Co-Director Anne Collins Goodyear.

Visions: Selections from the James T. Dyke Collection of Contemporary Drawings, exhibition catalog, Naples Museum of Art, Arkansas Art Center (2007) NYArts, «Ink Scissors Paper,» by Pamela A. Popeson (July 17, 2007) Journal of Cognitive Neuroscience, Volume 19, No. 6, cover image (June, 2007) Iowa City Press - Citizen «Old Card Catalog Gets Art Makeover» by Rob Daniel (April 2, 2006) Virtual Comunidad 2005 / Now: Here: This, exhibition catalog published by Artists Unite (December 2005) Manhattan Times, «The Photography of Fleeting Moments,» by Mike Fitelson (February 2005) BLIR, Issue # 05 (September 2005) J.T. Kirkland's Thinking About Art, «Artists Interview Artists», interview by Douglas Witmer (August 17, 2005) NY Arts, «Illuminated Brush Strokes,» by Pamela A. Popeson (March / April 2004) NY Arts, «Sky Pape at June Kelly Gallery,» by Carl E. Hazlewood (November 2001) Artnet.com Magazine, Drawing Notebook, by N.F. Karlins (October, 2001) Cover, «Processing Natural Order, Sky Pape at June Kelly Gallery,» by Chloe Veltman (September, 1999) Review Magazine, «Sky Pape, Inklings: Drawings at June Kelly Gallery,» by Mark Daniel Cohen, pp 8 - 10 (June, 1999) Journal of Cognitive Neuroscience, Volume 11, No. 4, cover image (1999) ARTnews Vol.97, No. 1 «Peer Reviews: The Best of 1997» by Paul Gardner, pp 89 - 95 (1998) The Café Review, Spring issue.

About California Countercultures Thinking Through the Arts and Design at Berkeley: California Countercultures is a UC Berkeley course cotaught by Natasha Boas, independent curator and critic of contemporary art and theory, and Michael Cohen, associate teaching professor in the African American studies department.

In How to See: Looking, Talking and Thinking about Art David Salle strips away complicated theory and describes contemporary art in the plain language artists use when talking to each othArt David Salle strips away complicated theory and describes contemporary art in the plain language artists use when talking to each othart in the plain language artists use when talking to each other.

She was born in Buffalo, but made her mark in New York City in the 1950s, at a time when few thought about buying original contemporary art.

Either it is «preaching to the choir» or everyone that goes to contemporary fine arts museums are so privileged they don't even think about their housing.

Moffett consistently constructs his works around critical frameworks that engage audiences to think about painting, art, and the political and social issues that shape our contemporary lives.

One of the more thought - provoking pieces of art writing this month was not about contemporary work, but modern art.

Lazraq's father, Alami Lazraq, a real estate developer, had been thinking about building a museum dedicated to contemporary African art for years, and his efforts finally culminated with MACAAL, which soft - launched in late 2016.

Solely featuring work made since 2000, this exhibition highlights a wide range of contemporary approaches to art making, and explores thought - provoking ideas about our everyday reality, from the various ways we experience time to the personal impact of migration, loss, and desire.

Established in 1932, the Biennial has long been a site for critical discussions about contemporary art, while providing an opportunity for deep thinking and reflection on the broader cultural concerns of a given historical moment.

Dedicated to providing readers with an informed and expert view of New York's contemporary arts, our lively conversations and reporting highlight current perspectives on contemporary art and provide an insight into what artists, curators and galleries are creating and thinking about.

But then I was thinking about posting a poster for the film on the notice board here «this was when the space was the Caribbean Contemporary Arts Center; lots of artists were working here.

Their works fuse traditional cultural knowledge with contemporary art forms, pose urgent political questions, and push the boundaries of how we think about art, history and culture more broadly.

In the early days one of the aims was to increase the quality of discussion about contemporary art and I think it has — it's not so simplistic any more.

Art21 is a nonprofit organization dedicated to engaging audiences with contemporary visual art, inspiring creative thinking, and educating a new generation about artists working today.

The fair's description for this panel reads, «Assembling some of the most prominent and influential voices on art and art writing for the web, this panel will address new modalities of looking at, thinking about, and critically engaging with contemporary artistic discourse.»

He said: «I think it is really important to spark a debate about contemporary art and that is why it is an important statement by Tate to hold this year's Turner Prize in Liverpool.»

Other institutions tackle the «I'll never understand this» response to contemporary art by quoting artists in their labels, by featuring a response from a community member, or by asking a viewer for his or her own thoughts about a work.

«It made the art world breathe and live for me,» says Benezra, who finds modern and contemporary art engaging because «it allows you to think about your own time in a very active way.»

Those works — along with many others, like the 1969 photographs Minter took of her alcoholic and pill - addicted mother, or I'm Not Much But I'm All I Think About, a 2011 video in which the letters M and E, along with a pair of silver M&M's, are repeatedly dropped into an oozing mixture of vodka and silver food coloring — are currently on view at the Brooklyn Museum, in «Marilyn Minter: Pretty / Dirty,» a retrospective that originated at the Contemporary Arts Museum Houston.

Gwen Chanzit, the DAM's curator of modern and contemporary art, began thinking about the show in 2008 — though she says she never set out to do a «women's show.»

2008 Heralded as the new black, Ikon Gallery, Birmingham, UK Heralded as the new black, South London Gallery, London, UK Something Vague, St Gallen Kunstverein, Switzerland, CH Something Vague, Bonner Kunstverein, Bonn, DE How I learnt to use my senses, how I learnt to think and how I learnt to feel, Taro Nasu Gallery, Tokyo, JP Championed by Rigour, Tanya Bonakdar Gallery, New York, US And it came to life, Marz Galleria, Lisbon, PT Basquiat, STORE Gallery, London, UK 2007 GHOSTWRITER SUBTEXT (TOWARDS A SIGNIFICANTLY MORE PLAUSIBLE INTERROBANG), Taro Nasu Gallery, Tokyo, JP More than the weight of your shadow, DAIWA Press Viewing Room, Hiroshima, JP Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US Short cut through the trees, MUMOK, Vienna, AT The Last Work, Stedelijk Museum, Amsterdam NL Of Any Actual Person, Living or Dead (with Aurélien Froment), STORE, London, UK 2006 Ryan Gander, Massimo De Carlo, Milan, IT Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami, US Didactease, Marc Foxx, Los Angeles, USCinema Verso, Whitechapel East Wing, London, UK Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel, CH The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich, CH Is This Guilt In You Too --(The study of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, IT

Marc Quinn on artwriting (2000) Back in 2000 in interview, Marc Quinn, the British artist known for using unusual art materials like ice, blood and excrement, shared his thoughts about his experience with contemporary artwriting — and the positioning of his iconic work, Self, made from nine...

Another issue is thinking about how contemporary galleries and arts institutions can become more accessible to diasporic bodies of flesh and praxis — and is there a way to sympathetically re-imagine these sanctified temples of modernity?

An all - star roster of contemporary artists will be presented to take on the mammoth task of thinking about how art has been changed by the Internet.

Can you tell us what you think this back - to - back representation says about the strength of our local academic and institutional activity in the national and global contemporary art communities?

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

The Jewel Thief will combine works by over fifty contemporary artists with eccentric arrangements to explore new ways to think about and experience abstract art.

I've got 3 generations of Utah artists in it, which I'm really excited about in terms of thinking about the differences and specificities within each of the practices and then putting that within a larger international contemporary art dialogue.

In the morning I had an anemic run, thinking that I was barely keeping pace with Jeffrey Deitch, noted former dealer and now director of the Museum of Contemporary Art Los Angeles, when for about the 10th year in a row he came from nowhere and passed me on the beach.

The Nasher Sculpture Center is pleased to announce the fall and winter speaker line - up for the 2012 Nasher lecture series, 360: Artists, Critics, Curators, which brings art world speakers to the Nasher for conversations about the ever - expanding definition of sculpture and the thought - processes behind innovative contemporary artwork, architecture and design.

2008 Selective Knowledge, Institute for Contemporary Art and Thought, Athens, Greece Zones of Conflict, Pratt Gallery, New York, NY Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons School of Design and the Vera List Center for Art and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, AspenContemporary Art and Thought, Athens, Greece Zones of Conflict, Pratt Gallery, New York, NY Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons School of Design and the Vera List Center for Art and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt and Thought, Athens, Greece Zones of Conflict, Pratt Gallery, New York, NY Ours: Democracy in the Age of Branding, Sheila C. Johnson Design Center, organized by Parsons School of Design and the Vera List Center for Art and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt and Politics, New York, NY Crossroads: Interfaces between rock and contemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspencontemporary art, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art Museart, Domus Artium Museum / Center of Contemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, AspenContemporary Art of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt of Salamanca, Spain 2008 California Biennial, Orange County Museum of Art, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt, Newport Beach, CA Index: Conceptualism in California from the Permanent Collection, Museum of Contemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, AspenContemporary Art, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt, Los Angeles, CA Proyecto civico / Civic Project, CECUT, Centro Cultural Tijuana, Mexico 8 Bienal de Arte de Panamá, 8th Panama Biennial, Panama 16th Biennale of Sydney: Forms that Turn, Sydney, Australia Close Encounters, American University Museum, Katzen Arts Center, Washington, D.C. Freedom, Stichting Den Haag Sculptuur, The Hague, Netherlands Ohio, curated by Brad Killam and Barb Wiesen, Gahlberg Gallery, College of DuPage, Glen Ellyn, IL Peripheral vision and collective body, Museum of Modern and Contemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, AspenContemporary Art of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt of Bozen, Bolzano, Italy The Old, Weird America, Contemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, AspenContemporary Arts Museum, Houston, TX Since we last spoke about monuments, Stroom den Haag, The Hague, Netherlands Jeremy Deller: Marlon Brando, Pocahontas, and Me, Aspen Art MuseArt Museum.

«Case Studies is an occasion to show some of the gems of the collection, and to think about the linkages that bridge works from different moments in time, cultures, and mediums,» says Curator of Contemporary Art and Case Studies curator Laura Addison.

While visiting the Delaware Center for Contemporary Arts in Wilmington, Delaware, Senator Chris Coons shared his thoughts about arts and the Arts in Wilmington, Delaware, Senator Chris Coons shared his thoughts about arts and the arts and the NEA.

«What I want to show visitors is that 1) artists don't work in a bubble, and that 2) contemporary artists, though they are pursuing new modes in the world and new ways of thinking about art and making art, they are still very much looking to their predecessors,» she said.

A: What do you think is exciting about contemporary art today?

«I think contemporary ideas are always important and the more people can come in contact with contemporary ideas, which to me is the bedrock of what contemporary art is about, is always healthy for society,» he said.

The light shining in from being near the river glows into the space activating the color fields vibrating in the paintings, DoN thought about how this is the way a true artist lives, in a bright airy studio right in the hub of the lively contemporary arts scene in Old City with the energy and time to think big.

Educator - led studio classes encourage students to think deeper about contemporary art and the real artists making it.

Barry Schwabsky: Well, I think that I probably became interested and curious about contemporary art and the art world through what I knew about it from the poetry world.