Sentences with phrase «tradition of artistic practice»

However, artists who engage in activities beyond the studio reflect the true tradition of artistic practice documented throughout art history.

Abandoning these Western values based in individualism and hierarchy, Gaines further described how his epiphany occurred when he turned away from the Western canon as a young man and began to investigate Muslim and Buddhist traditions of artistic practice, in which individual expression and emotional affect were secondary to systematic, mathematically derived formal investigations.

Not exact matches

Corwin writes: «In the tradition of Klein and Dubuffet, Strobert chooses to site her artistic practice within the confines of painting, while literally doing everything she can to reconfigure that discipline through a re-orientation of mediums and with an expressionistic yet pragmatic eye... Strobert's painting isn't abstract painting but the abstraction of painting.

Shiva Ahmadi's practice borrows from the artistic traditions of Iran and the Middle East to critically examine contemporary political tensions.

Jukkala says, «Didier's artistic practice connects with the deep traditions of painting, drawing, printmaking and figuration at PAFA.

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de Sao Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

Nigerian - born, Berlin - based Otobong Nkanga's early training in the converging traditions of live arts and performance lend a decidedly wayward, playful charge to her research - heavy artistic practice, steering her work away from the dour academicism that so often cripples art projects invested in the production and dissemination of knowledge.

Here is a wonderful example of the nuances of artistic practice and influence, where the innovations of Giotto do not simply succeed the Byzantine tradition, but contribute to a process of dialogue and exchange.

Ironically, given the rich history of performance and its prevalence in black artistic practices since the 1960s, this tradition has largely gone unexamined save for a handful of publications including the exhibition catalogue Art as a Verb (1988) by Leslie King Hammond and Lowery Stokes Sims.

Known for bridging the Neoclassic tradition of allegory set in nature with Realism and plein air practice, Jean - Baptiste - Camille Corot embarked on his artistic career by studying landscape painting.

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.

Works include woodblock prints, hand - painted scrolls, metal works and sculpture that highlight esteemed and centuries - old artistic practices and traditions from the cultures of Japan, China, India, Tibet and Thailand.

This event focued specifically on the role that contemporary Indigenous artistic practice can and does play in redefining cultural tradition, representation, and the relations between Settler and Indigenous peoples at sites of creativity, community, and dissent.

My most recent work is a conversation between the tradition of painting and contemporary artistic practice: a bizarre confluence of technique, critique and personal expression generated by my ongoing investigations of narrative image creation... inspired by the Foldy Books of Death (FBoD).»

Author Jordan Amirkhani notes: «If the studio has traditionally been a place of solace from reality's complications, this exhibition seems to respond with urgent ambiguity by asking important and unresolved questions about the place of artistic practice within today's society, and the traditions of Western art making that have not (and will not) go away.»

If the studio has traditionally been a place of solace from reality's complications, this exhibition seems to respond with urgent ambiguity by asking important and unresolved questions about the place of artistic practice within today's society, and the traditions of Western art making that have not (and will not) go away.

Chris Ofili's intricately constructed works, combining beadlike dots of paint, collaged images from popular media, and elephant dung, create a unique iconography that marries African artistic and ritual practices with Western art historical traditions and contemporary hip - hop culture.

Author Jordan Amirkhani notes: «If the studio has traditionally been a place of solace from reality's complications, this exhibition seems to respond with urgent ambiguity by asking important and unresolved questions about the place of artistic practice within today's society, and the traditions of Western -LSB-.....]

Her study and observation of the figurative and realistic tradition in Western art has resulted in her accumulating a body of knowledge that she draws on directly in her artistic practice.

From the press release: The first museum exhibition devoted to the Indian influences in Clemente's work and how they relate to the artistic practices and traditions of various regions in India features approximately 20 works, including paintings from the last 30 years, and four new, larger than life - size sculptures created especially for the exhibition.

The Rubin Museum of Art, New York Curated by Beth Citron The first museum exhibition devoted to the Indian influences in Clemente's work and how they relate to the artistic practices and traditions of various regions in India features approximately 20 works, including paintings from the last 30 years, and four new, larger than life - size sculptures created especially for the exhibition.

The confluence of identity issues and contemporary life concerns are what have made performance as an artistic practice immensely relevant for them as they explore the binary complexity of their identity and address new agendas, completely unrestrained by tradition and convention.

About Prospect New Orleans Prospect New Orleans was conceived in the tradition of the great international exhibitions, such as the Venice Biennale and the Bienal de São Paulo, to showcase new artistic practices from around the world in settings that are both historic and culturally exceptional, and contribute to the cultural economy of New Orleans and the Louisiana Gulf region.

What is the relationship between artistic practice and institution - building, and what are the traditions and case studies of artists as creators of durable social contexts that we can look to?

Wallace's artistic practice has long been influenced by traditional art history, often appropriating previous traditions to establish a link between old and new methods of art making.

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de São Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

Examination of handmade traditions in artistic studio practice can now be removed from the actual materials process, and / or enhanced by classic, but computerized, methods of weaving, painting, printing and sculpture.

Of her artistic practice, she asserts: «I see my work as coming out of a moral tradition... maybe it's about situating myself within the world.&raquOf her artistic practice, she asserts: «I see my work as coming out of a moral tradition... maybe it's about situating myself within the world.&raquof a moral tradition... maybe it's about situating myself within the world.»

Kashihara, who has also learned the traditional European art, does not merely attempt the assimilation of different traditions, but observes the existent category critically, and engages earnestly in her artistic practice of «own individual history».

And as for relating to institutional art world structures, she sees the work of public folklorists concentrating in the arts as having anticipated «relational aesthetics» and «social practice,» but «done so on its own terms and by privileging the voice of the artistic tradition - bearer rather than the curator or artist / interpreter.»

Since the 1980s, Koether has engaged in an intimate «battle» against painterly tradition, developing a defiant artistic practice able to sketch out a counterhistory of the modernist, male - dominated and heteronormative canon.

The reference to mythology as a source of inspiration; using abstract composition as a way to evoke literary and lyrical stories; the control of the design so as to achieve a delicate balance between the freshness of gestural strokes and the clearness of drawing; the reference to the tradition of art history as an endless process of acknowledgment of the meaning of artistic practice; the attention paid to the sign itself as a multi-linguistic mark of the artist's expression; these are all constant features of Twombly's work, and have been since the very beginning of his career in the late 1940s.

The group show, whose title is inspired by a song from the 1970s funk band the Ohio Players, looks at issues of society, sexuality and black womanhood — in works that are variously inspired by folk art traditions, Afro - Caribbean folklore and myriad other artistic practices.

Conceived in the tradition of international biennials, Prospect New Orleans showcases new artistic practices from around the world and contributes to the realization of New Orleans by spurring tourism and bringing international attention to the city's vibrant visual arts community.

Muniz has continued this tradition of copying as a legitimate creative act, learning from his close study of centuries of artistic practice.

«There is a deep connection between mathematics and photography that originated in the invention of photography itself, a tradition that has carried into the 21st century,» says exhibition curator Klaus Ottmann, «Hiroshi Sugimoto's work exemplifies this tradition, and this exhibition reflects the artist's desire to combine a «very craft - oriented» practice with making «something artistic and conceptual».

A dynamic saxophonist, composer, improviser, and mixed media sound conceptualist, Roberts's acclaimed artistic practice aims to expose the mystical roots and the intuitive spirit - raising traditions of American creative expression in her music and art.

Her continued observation of the tradition of western painting has accumulated in a body of knowledge that has found its way to her artistic practice.

Printmaking is a distinctive artistic practice that draws from a range of technical traditions.

Polly Apfelbaum's (b. 1955) artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

Polly Apfelbaum's artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

The Art Institute of Chicago collects, preserves, and interprets works of art of the highest quality, representing the world's diverse artistic traditions, for the inspiration and education of the public and in accordance with our profession's highest ethical standards and practices.

A master of combining various painting techniques, Pindell is accustomed to using strange artistic materials such as glitter, talcum powder and perfumes, unconventional practices that helped her stretch the boundaries of the rigid tradition that blindly relied on rectangular, canvas painting.

Drawing inspiration from her own experience, including the Southern California surf culture of her childhood, the San Francisco beatnik era of her teen years, the punk and new wave music scenes of 1970s and early 80s New York, and her formal training as a sculptor and ceramist, Heilmann incorporates a complex amalgam of personal references, cultural influences, and craft traditions in an artistic practice that includes painting, painted ceramics, and constructed furniture.

The exhibition will shed light on the breadth of Chu Teh - Chun's practice and suggest that, rather than adopting the ideals of Western painting, Chu's move to Europe encouraged him to discover and embrace these resonating elements already within the Chinese artistic tradition.

Wolbers creates each set by hand, culminating in an artistic practice that combines the modernity of filmmaking with the ageless tradition of handicrafts.

Whilst Derakshani's practice is grounded in Iranian artistic traditions, his dynamic brushstrokes reveal the influence of the textured surfaces from Western abstract art movements.

Apfelbaum's (b. 1955) artistic practice is distinguished by a hybridized aesthetic that fuses traditions of painting, craft, and installation.

«White - Tipped Blooming» exemplifies many outstanding characteristics of Surls's oeuvre, which call to mind the artistic traditions on which he builds his practice: the unique oak - and - steel construction consists of expressively carved biomorphic forms that conjure primitivist aesthetics and mythical imagery of early 20th - century avant - garde sculpture, while the humble, organic materials pay homage to American folk art.

The exhibition introduces performance art with a focus on the influence that carnival and related masquerading traditions in and of the Caribbean and its diasporas have had on contemporary performance discourse and practice, in both the artistic and curatorial realms.