Sentences with phrase «understand contemporary drawing»
It's a prestigious prize, but further than that, I feel I've been given a nod by people who know and understand contemporary drawing; which is great.
http://www.aestheticamagazine.com/ Not exact matches
As directed by my generational contemporary Len Wiseman, Live Free or Die Hard shows at least a superficial understanding of what makes Willis» most fiscally successful films tick: a hissable bad guy (Timothy Olyphant as cyber-terrorist Thomas Gabriel), armies of henchmen (and in this case, a henchwoman), and NYPD cop McClane, reluctantly drawn into bruising fistfights and games of chicken with large vehicles and machinery.
It covers the following National Curriculum learning objectives: - develop pleasure in reading, motivation to read, vocabulary and understanding by: listening to, discussing and expressing views about a wide range of contemporary and classic poetry, stories and non-fiction at a level beyond that at which they can read independently - becoming increasingly familiar with and retelling a wider range of stories, fairy stories and traditional tales - drawing on what they already know or on background information and vocabulary provided by the teacher - making inferences on the basis of what is being said and done - answering and asking questions - predicting what might happen on the basis of what has been read so far - using dictionaries to check the meaning of words that they have read - checking that the text makes sense to them, discussing their understanding, and explaining the meaning of words in context
Her research draws on cognitive and social psychology and curriculum studies to examine the conditions that enable individuals to advance an interdisciplinary understanding of problems of contemporary global significance to develop intercultural competence.
The exhibition highlights the power and complexity of contemporary Indigenous photography, and the way in which Indigenous artists draw upon a rich mixture of history, personal experience, blak humour, as well as postmodern and postcolonial theories, in order to generate new perspectives and understandings of the social, political and cultural conditions faced by Indigenous and non-Indigenous Australians.
It was through Cage's contemporary, Robert Rauschenberg's Erased de Kooning Drawing, 1953, that art historian Leo Steinberg, «suddenly understood that the fruit of an artist's work need not be an object.»
Pratt Institute's M.F.A. Painting and Drawing Curriculum offers students a broad but rigorous studio practice, highlighting students» individual development and focusing on an understanding of the significant concerns that constitute contemporary art today.
She is also fascinated by history as well as the way in which events of the past continue to resonate today — as a result, many of her works draw on specific historical time periods to offer reinvented means of understanding our contemporary moment.
A Rail Curatorial Project lead by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.
Glass Gallery Curated by Phong Bui and Rail Curatorial Projects A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.
Curated by Miami gallerist Carol Jazzar, Following the Line advances the understanding of drawing in contemporary art, an arena that is increasingly preoccupied with mass spectacle, public space and multimedia.
Drawn from the collection of Dr. Kurt Gitter and Alice Yelen Gitter, and guest - curated by noted Japanese - art scholar Joe Earle, the exhibition features 82 works by 40 artists, including three historic vessels illustrating both the chronological range of the collection, and a visual touchpoint for viewers to better understand the traditions referenced by modern and contemporary artists.
A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, OCCUPY MANA focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.
He tried to move the debate from the old binary positions of previous decades, declaring that «the true painter, will be he who can wring from contemporary life its epic aspect and make us see and understand, with colour or in drawing, how great and poetic we are in our cravats and our polished boots».
In the group exhibition «The Projective Drawing» at Austrian Cultural Forum New York (ACFNY), curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works oDrawing» at Austrian Cultural Forum New York (ACFNY), curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works odrawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works odrawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.
Terris is a contemporary artist and contractor who draws much of his artistic practice from his understanding of building materials and architecture.
«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003
In the early 1880s, she travelled to Brussels and Paris where she studied drawing, and fine art painting alongside contemporaries like Walter Osborne and John Lavery, and spent some time in London working under Paul Jacob Naftel, whom she later claimed had given her a profound understanding of the art of watercolour painting.
Modern and Contemporary works on view transcend national boundaries and involve all forms of visual expression, including painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, and film and video, as well as new forms yet to be developed or understood, that reflect and explore the artistic issues of the era.
In «The Projective Drawing,» Evans» theory, which is essentially at its core skeptical of drawing, is used to challenge and expand our approach to understanding the medium and how it operates in contemporary cDrawing,» Evans» theory, which is essentially at its core skeptical of drawing, is used to challenge and expand our approach to understanding the medium and how it operates in contemporary cdrawing, is used to challenge and expand our approach to understanding the medium and how it operates in contemporary culture.
His process takes Jean - Auguste - Dominique Ingres's definition of drawing as «the probity of art», but uses it to stitch together the wound of our attention deficits, doing its level best (or unlevel, as the case may be, given Wood's style of drawing) to integrate, if not understand, the cropped - out parts, quantized surfaces, fleeting chroma and meta - level disorientation of contemporary life.
In The Projective Drawing, the curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works oDrawing, the curator Brett Littman applies Evans's theory, which is skeptical of drawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works odrawing at its core, to challenge our understanding of how the medium of drawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works odrawing operates in contemporary culture by highlighting both Austrian and international artists whose drawings require viewers to activate a matrix of complex and nontraditional ideas in order to interpret the works on view.
Besides being heavily published in contemporary drawings, Rose's research into the influence of film on Braque and Picasso may significantly change the art world's understanding of Cubism.
This blog really makes me feel connected to a community that understands and appreciates the rigorous discipline and seriousness of contemporary figurative drawing and painting.
History can illuminate the present in a way no contemporary analysis can, and this paper draws on three historical episodes to provide a more nuanced understanding of the nature of climate denial.