Sentences with phrase «urban artists such»

Some of the world's leading urban artists such as iHeart, Joe Iurato, London Police, Mad Steez, Martin Whatson, Mau Mau, Millo, Myneandyours, Nafir and Word To Mother created for this exhibition a series of brand new works reflecting their views and thoughts on «The Social Paradox» theme.

Some of the world's leading urban artists such as iHeart, Joe Iurato, London Police, Mad Steez,

The museum has commissioned a series of new murals by well - known urban artists such as Saber, Greg «Craola» Simkins, Jeff Soto, Tristan Eaton and Audrey Kawasaki.

Not exact matches

Visual effects artist turned director Stewart played around with the casting (Brad Dourif and Urban share a scene, a mini «Lord of the Rings» reunion) and indulges himself in Western iconography to such a degree that you kind of wish he'd designed this movie, then found a better script to go with it.

Opened at the end of 2012, it prides itself on being an «urban art hostel», having collaborated with a street artist from Hong Kong and playing host partner to events such as International Cosplay Day.

Each of the 77 guestrooms and suites feature high ceilings and urban elements similar to high - end artist lofts, along with luxury amenities such as fully loaded iPads ® and laptops, complimentary WiFi, and spectacular views of NYC.

I'm pulling together a group of artists Boulder County Colorado to plan and develop an urban - ish artists cohousing community with live / work spaces, a common house including community outreach / inreach such as gallery and performance space, teaching, etc..

«What We Made's strength is derived from its vibrant conversations, balancing the voices of such well - known artists as Tania Bruguera, Rick Lowe, Mierle Laderman Ukeles, along with urban planners, educators, philosophers, political scientists, and participants....

Eyeballing (2005), by London - based artist Rosalind Nashashibi (b. 1973, England) anthropomorphizes everyday objects and architecture of an urban landscape, such as toothbrushes and manhole covers.

Taking on an even darker tone than usual, Gilbert & George hone in on the scandalous side of urban culture with images such as Sweet Air Sweet Air where the artists have decorated the image with nitrous oxide canisters.

Their self - defined curriculum provides opportunities for one - on - one studies with artists such as Rachel Rosenthal, L.A. Urban Rangers, and others across the Southern California region.

Highlights include a focus on «experimental» drawing with individual displays by artists such as Eduardo Basualdo, from Argentina; Mateo López and Nicolás Paris from Colombia; deconstructed painting and sculpture with largescale displays by Brazilian artists Leda Catunda, Adriano Costa, Maria Nepomuceno, Erika Verzutti and Cuban artists Los Carpinteros, among others; and a strong emphasis on street art and urban culture, with largescale participative installations by Os Gêmeos and Paulo Nazareth from Brazil, and individual displays by Mexican artists Pedro Reyes, Moris, and Edgardo Aragón.

Including Pilar Albarracin, Karen Finley, Pearl C. Hsiung, Glenn Kaino, Mike Kelley, Martin Kersels, Daniel Joseph Martinez, Rodney McMillian, and Robin Rhode, these artists reference subjects such as war and terror, social and racial tension, urban and environmental disaster, psychological break - down, and criminal behavior in a range of mixed media and video installations.

In 1959, Mallary took a teaching position at Pratt and moved to New York, where he would combine the brooding weight and density of the New Mexico abstractions with ephemeral urban detritus, creating works that established him among the core artists exploring junk art, such as John Chamberlain, Richard Stankiewicz, Claes Oldenburg and Lee Bontecou.

New York - based artist Kevin Beasley (b. 1985) transforms personal and familial artifacts into sculpture and sound performances, influenced by house music, hip hop sampling, and the post-industrial decay of once prosperous urban centers, such as Detroit, where Beasley lived for a number of years.

Alumni from Pratt's M.F.A. program have received such prestigious awards as the Joan Mitchell Foundation M.F.A. Grant, New York Foundation for the Arts Fellowship, Artist Trust Grant for Artist Projects, Tides Foundation Lambent Fellowship, and Urban Artist Initiative Fellowship, among others.

The participating artists address themes such as memory and self - reflection, social and political issues such as discrimination, racism, the failure of the modern utopia, urban violence and exploitation of the Amazon rain forest.

It may be somewhat significant that most of these Midwest artists are teachers in various institutions, an indication that such support is vital to artists who don't live in large urban centers.

Alumni from Pratt's M.F.A. programs have received such prestigious awards as the Joan Mitchell Foundation M.F.A. Grant, New York Foundation for the Arts Fellowship, Artist Trust Grant for Artist Projects, Tides Foundation Lambent Fellowship, and Urban Artist Initiative Fellowship, among many others.

Highly respectable list of gallery's artists includes great urban and street art names such as Shepard Fairey, Futura, JR, JonOne, Vhils and Zhang Dali.

Together representing the cutting edge of international photography, the four artists engage with broad historical and cultural forces such as war, colonialism, urban planning and advertising.

One such project, initiated during the Autumn of 2015, features artists Abigail Doan (@lostinfiber) and Brece Honeycutt (@onacolonialfarm) who began a parallel process of collecting, diagramming, and altering select materials in an urban to rural dialogue intended to examine modern and historic connections in their daily lives.

Informally known as the «Bowery School», it also included artists such as Nate Lowman, Aaron Young, Ryan McGinley, Gardar Eide Einarsson, Banks Violette, Dash Snow, Agathe Snow, Hanna Liden, Lizzie Bougatsos and Adam McEwen, who all in one way or another share an engagement with their city and with urban culture in general.

Emphasizing the importance of African American migration, as well as Los Angeles» housing and employment politics, Jones shows how the work of black Angeleno artists such as Betye Saar, Charles White, Noah Purifoy, and Senga Nengudi spoke to the dislocation of migration, Los Angeles» urban renewal, and restrictions on black mobility.

Through a series of conversations with the city's leading artists and intellectuals, Maltzan explores such issues as real - estate speculation and future urban development, infrastructure, resources, site density, urban experience, political structure, commerce and community, attempting to transform our understanding of how each affects present - day Los Angeles.

The changes mostly highlight the fair's strengths, with such alternative spaces as Artists Space and White Columns alongside such urban pioneers as Paula Cooper — and often provocative art.

Alumni from Pratt's M.F.A. programs have received such prestigious awards as the Joan Mitchell Foundation M.F.A. Grant, New York Foundation for the Arts Fellowship, Artist Trust Grant for Artist Projects, Tides Foundation Lambent Fellowship, and Urban Artist Initiative Fellowship, among others.

Keeping close tabs on urban art, she has also interviewed such influential artists as Shepard Fairey and Erik Foss.

Through economical and invasive means, the artist transforms urban detritus such as found cardboard, police barricades, and carpet remnants into bunker - like structures that retain a semblance of solidity yet convey a feeling of melancholy and gloom.

Working with other artists, collaboratives, and groups, such as The Center for Urban Pedagogy (New York), rum46 (Denmark), Think Tank (Philadelphia), Artlink (UK), and AREA Chicago Art, Research, -LSB-...]

For Triple Point, the artist uses elements from the urban landscape of Venice such as photographs of stone, leaves from the Giardini, tickets from the Vaporetto.

Although as early as 1979, graffiti artists Lee Quinones and Fab 5 Freddy were exhibiting in galleries, it was not until the 1980s that artists such as Keith Haring and Jean - Michel Basquiat began to be widely recognized by institutions, critics, and collectors, creating work that applied the styles they had cultivated on the urban fabric onto canvases and prints.

This interest may seem a tad anachronistic, not just because this was postwar America and not the 19th century, but because she's such an urban, and urbane, artist.

About Ralston Crawford Ralston Crawford (1906 - 1978) is predominantly known for his abstract representations of urban life and industry, and his early work is frequently associated with Precisionist artists such as Charles Sheeler and Stuart Davis.

Architectural ruins was a common subject for 18th - and 19th - century artists and an especially favored theme among the Romanticists; Farm Security Administration photographers such as Walker Evans and Dorothea Lange are known for documenting the effects of the Great Depression; and most recently, an obsession with photographing urban decay has sparked an entire genre dubbed «ruin porn.»

Examples include Patio Taller, a performance space and grass - roots educational center in the industrial zone of San Antón that organizes a «theater of the oppressed» to address issues affecting their community; the collective transformation of the hillside town of El Cerro, Naranjito into a living mural that is socially and artistically charged; intergenerational workshops known as Escuelas Oficios (Trade Schools) that are recuperating artisanal traditions threatened by modernization and colonialism, such as weaving, lace making, and basketry; the revitalization of blighted properties and neighborhoods through participatory urban design of community centers, public parks, urban gardens, and food cooperatives; and the aesthetic and physical reclaiming of public space through movement by artist Noemí Segarra.

Filming with a hand - held camera and narrating the film herself, Varda travelled around France, profiling gleaners, from those who follow the country harvests, through to urban scavengers, such as the bricoleur artist who finds objects and transforms them into sculpture, and Varda herself, who ponders the gleaning nature of digital filmmaking.

But recently, younger artists like Yang [Yong] have created something of a southern school, which, in its open examination of modern urban life, has begun to attract attention in places such as Finland and Switzerland.

The original Black Mountain College functioned as an incubator for American artists such as John Cage, Merce Cunningham, Robert Creeley, Anni and Josef Albers and many others escaping Hitler in Nazi - occupied Europe, seeking refuge from mainstream educational institutions or the poverty of urban centers.

In the early twentieth century, artists such as Robert Henri, George Luks, John Sloan, and others were interested in the gritty details of modern urban life.

Palestinian artist Harb, who shuttles between Dubai and Rome, in his sculptural installation titled Unlimited Progress, presents the interplay between time and urban change in a fast - developing city such as Dubai, where large tracts of desert give way to urban expansion.

The artist says of his work, «Most of my work is structured around ideas of relationships or pairings (such as memory / history, man / woman, urban / rural, past / present)... how these pairings are simultaneously opposite and complement.»

Painters such as Rogers Naylor or Steven S. Walker investigate the warmth and familiarity of an urban coffee shop or street scene, while artists like Leslie Nolan portray the potential bleak reality of urban corporate business.

Artists created charged works by juxtaposing disparate images sourced largely from popular media, such as Hannah Höch's 1930 photomontage Untitled (Large Hand Over Woman's Head), a work of layered images from magazines that speaks to the representation of women in popular culture, and Kurt Schwitters» Mz 426 Figures (1922), an assemblage of discarded newspaper and printed detritus, which evokes the urban environment in which he lived.

Born and raised south of San Francisco, Norling hails from a recent generation of artists raised on the fun and gun ethos of graffiti and the mark - making of urban street culture; from stickers to wheat - pasted posters, it is from this street aesthetic; one that is in dialogue with Norling's teacher Raymond Saunders, as well as younger artists such as Barry McGee and the late Margaret Kilgallen, that Norling's paintings, sculptures and installations derive much of their impact.

The industrial monument is now a UNESCO World Heritage Site and is regularly used for events and exhibitions such as the 2013 Urban Art Biennial, which sees a number of artworks by high - profile street artists dotted throughout the site.

The artist and KM Fine Arts have joined with the Rush Philanthropic Arts Foundation and Russell Simmons to redirect a portion of the proceeds from the show toward providing exposure to the arts for urban communities where such opportunities may be scarce, as well as support for exhibitions by under - represented artists.

Encompassing the various forms in which Ibrahim works, this survey traces the aesthetic and conceptual concerns that run throughout the artist's practice, such as his use of permutations and his disquiet about the demise of nature that accompanies urban development.

VanDerBeek's most recent bodies of work relate to cities, such as Detroit and Baltimore, which have personal, historical, or political meaning for the artist, as well as distinct urban features.

Maps, urban models and small objects such as tin toys, soda bottle caps, albums that Cosentino collected during his residency at Zilberman Gallery Berlin's artist - in - residence program in the summer of 2017, become the tools of storytelling for the narrator - protagonist.