Sentences with phrase «value as a work of art»

And that's not even considering their value as works of art, an appraisal that will have its most fulsome expression to date in Koon's long - anticipated career survey opening at the Whitney Museum this week — the first time that the artist's extremely diverse and challenging series will all be displayed in the same place at the same time.

Not exact matches

One disciple of the school, indeed, has striven to impugn the value of works of genius in a wholesale way (such works of contemporary art, namely, as he himself is unable to enjoy, and they are many) by using medical arguments.

These principles can themselves be seen as «aesthetic» in both the narrower and the broader sense: they define the conditions for the achievement of value in a work of art, or in the experience of any actual occasion.

However, we recognise that some ceramists make works of art that may have functional value but which they see as having more decorative or artistic value.

«Congratulations to all the project partners and thank you to Governor Cuomo and Homes and Community Renewal for recognizing the value of this kitchen as a lifeline to Albany's seniors and as a gateway to education and career opportunities for those aspiring to work in the culinary arts industry,» said Kathy Sheehan, Mayor, City of Albany.

This is what we call an «add value» skirt: When done wearing, simply hang on wall for all to gaze upon as a work of art.

But whether or not there is, perhaps, some trace of a love like Georges's and Anne's that lingers on, that really is as immortal as true love can feel to us, we can at least be certain of one thing: The value of a work of art as perfectly achieved as Amour, with its true, profound, and thorough tribute to the emotion after which it's named, is, for whatever it's worth, as close to imperishable and eternal as it gets.

I'm thankful for the outlets that struggle to maintain integrity in a sect of journalism frequently free of same and for the passion that drives any fan looking to start up a venue to convey his or her own perspective, for my comrades on the film awards beat who keep me on my toes, for the ability to work for myself covering an art form I love, and that there are some who find a modicum of worth in that coverage, as well as for the undying commitment of my colleagues here — Guy Lodge, Gerard Kennedy and Chad Hartigan — whose value is immeasurable.

(Learning the value of inclusion and community) Perseverance (Learning the value of working hard when things don't come easy) Doing what you know is right (Issues of right or wrong) Learning the value of what you have (An introduction to money and saving) Taking Responsibility (Issues of having responsibilities as you grow up) Knowing you are special (Issues of self - esteem) Saying you're sorry (Learning the value of apologising) The art of giving (Learning the value in charity) Listening to those who know best Why rules are important

«There are so many artists and works of art that look at issues related to identity, diverse perspectives, culture, values, and ask if the world is really as it could and should be.»

Students analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art

Diorio points out that the award - winning VAX booking engine is one of the keystones to helping travel agents work seamlessly and smoothly with the diversity of product, in addition to other TMTC hallmarks, such as state - of - the - art groups technology, a committed nationwide team of business development managers and well - defined core values that permeate every aspect of customer care.

Considering her pursuits of art making, criticism, and curating as inextricably linked, this publication seeks to highlight the distinctive values and ideas that drive Grabner's practice: working outside of dominant systems, working tirelessly, and working across platforms.

In more recent works such as Pile (2004), a painted bronze sculpture of a pile of garbage bags, Turk explores the way in which a work of art is conferred with iconic status and value.

The artist creates works as signifiers of the destruction of the natural world by «colonial powers», via a series of tabletops containing mineral fragments and photographs of equatorial scrublands.The minerals are representative of the original environment now re-contextualized within the white cube of the gallery space becoming «art», and forming a dialectic concerning «value».

If there's one thing that suggests an artist's market value is quickly on the rise, it's the inclusion of their work into a museum's collection — an act that decidedly marks the artist's contribution to art history as significant.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

In his work, Gilewicz touches upon the value of labor, both artistic and physical, fulfillment as it relates to the production and over-production of art in a global economic slowdown and the roles of critics and art institutions.

Part II of Contemporary Art auction at Dorotheum Vienna will take place on Thursday, June 11 at 2 PM, It will bring for sale works by Heinz Mack, Otto Piene, Andy Warhol, Keith Haring, Alex Katz, Massimo Vitali, Martin Kippenberger, Sol LeWitt, Roy Lichtenstein, Hans Hartung and Sam Francis, to name a few, as 263 lots will be auctioned, with an average estimated value of $ 16,054.

With concise eloquence she traverses a complex field of issues: inviting criticism she evokes ideas of value; the reference to a «crit», a nod to art education; in composition her works explore colour, line and form; and as drawings they point to experimentation and process.

This new group exhibition features painting and sculpture works by four contemporary Korean artists whose striking and intimate art serves as a record of personal experiences and key moments in life, memorializing the often - overlooked value of the everyday.

Bickerton rose to prominence as part of the 1980's New York East Village art scene, with works that layered the reductive formalist aesthetic of minimalism with signs, symbols, and logos, as a means to examine commodity and value.

Christy's work has reflected these aesthetics and values since he was a student at Nashville's Watkins College of Art, Design & Film in the middle 00's, and these current trends are recasting artists like Christy as prophets of this new school cool.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes.

«Simultaneously an art object, a memorabilia item, and a hyper - intimate autograph,» he writes, «CTA works (and super goods as a whole) are a highly potent bundle of commodities nestled within themselves, able to be extracted individually or allowed to appreciate in value simultaneously as a diversified portfolio.»

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Popova's work negotiates the physical, economical and political articulations of painting today as well as materiality and the value of art objects.

Post-War America, with its strive for a new identity as the new global art center and a new set of values, created an auspicious ground for the avant - garde artists such as Jackson Pollock, Mark Rothko, Arshile Gorky, Robert Motherwell, Willem de Kooning, and Barnett Newman and although their works differed aesthetically and technically, art critics like Clement Greenberg classified them all as abstract - expressionists.

By its very appearance and the logic of the artisanal process of its content, How to Work Better also reflects the status of the public work of art as a «fetish of polarization» (Grasskamp [sic]-RRB-, without any real exchange value or utilWork Better also reflects the status of the public work of art as a «fetish of polarization» (Grasskamp [sic]-RRB-, without any real exchange value or utilwork of art as a «fetish of polarization» (Grasskamp [sic]-RRB-, without any real exchange value or utility.

Naturally, in dealing with false realities, the artist's work continues to explore labor, perception, women's issues and history - as they relate to art and Art History as well, and of course, valart and Art History as well, and of course, valArt History as well, and of course, value.

It is also an affirmation of art's value as a common good — ne to which both the labor of artists and institutions contribute, and which both must collectively work to maintain.»

Reconfiguring web design and hacking as artistic practice, Arcangel remains faithful to open source culture and makes his work and methods available online, thus superimposing a perpetual question - mark as to the value of the art object.

There is a push - pull in the art market where value often comes from works of art trading with exceptional infrequency even as the fact of repeated sales of art in general and an artist's work or even a specific work, in particular, gives buyers greater confidence in art as a store of value (or an asset class.)

He became a star of the US scene and was often used as an example that was meant to demonstrate the value of the American art when compared to the work of the Europeans [8].

Arcangel is concerned with the democratization of his own art: by exhibiting the same image both IRL in a white cube and online as «click bait»; in the leveling of cultural value, despite variance of image quality; and in his adherence to open source culture (evidenced especially in work titles that double as instructions to make them oneself).

In 2015, at New York Museum of Modern Art Erizku represented his «visual manifesto», a film named Serendipity in which he uses a sledgehammer to break the bust of David, replacing it with the one of Egyptian queen Nefertiti as an expression of the idea that the American culture doesn't value enough the work of black people.

Cayre and I moved to a sitting room on the second floor, where a Sturtevant copy of a Jasper Johns flag hangs over the sofa and, as if divulging a secret, she mentioned a work she has that is, and will forever be, impervious to the art world's obsession with monetary value: a Tino Sehgal.

The Americans for the Arts Action Fund will use the funds to educate the US Congress and other decision makers about the value of the arts and arts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would allow artists the same tax benefits for donations of their own art as a collector currently gets when gifting a similar work to a museum or educational institution.&raArts Action Fund will use the funds to educate the US Congress and other decision makers about the value of the arts and arts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would allow artists the same tax benefits for donations of their own art as a collector currently gets when gifting a similar work to a museum or educational institution.&raarts and arts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would allow artists the same tax benefits for donations of their own art as a collector currently gets when gifting a similar work to a museum or educational institution.&raarts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would allow artists the same tax benefits for donations of their own art as a collector currently gets when gifting a similar work to a museum or educational institution.»

There is certainly a resemblance of appearance, of certain technical devices, but Rauschenberg has seen something in them, has seen the Dadaist objects as the works of art they have tried not to be, and by concretizing what he has seen, and repeating it, new meanings and values come into being.

Constructing work from materials such as lottery tickets, trophies, travel posters, romance novels, art fair booths, and art shipping crates, Ghost of a Dream transforms these items, supposedly drained of their use - value, into sculpture, video, and two - dimensional meditations on material and symbolic value.

Alex Paik is a Brooklyn based artist working primarily with folded and cut paper, but he is also a classically trained musician who values the art of color as more than just a means to an end, but rather as the essence of his overall work.

In 1977, while working with large - format 20 - by - 24 inch and 40 - by - 80 inch Polaroid cameras, Close began to value his photographic maquettes as works of art in their own right, rather than as the basis to his painting.

Having long directed his work toward repurposing old financial documents, stock certificates, and expired bank statements, Gavin distinguishes the difference between the original monetary representations of the items and their new value as art forms.

The Art Fund says # 650,000 is the work's value, which was reached by including a «discount» by Friedman of # 97,500 and a # 49,100 «contribution» by Friedman and a New York gallery — dismissed as a «whitewash» by Lee.

2017 — «UPROOT» Smack Melon, Brooklyn, NY 2017 — «Sea of Trace» 505 Johnson Studios, Brooklyn, NY 2017 — «How We Come and How We Go» Trestle Projects, Brooklyn, NY 2017 — «PAPER: work & Jua Kali» 1:54, London, UK 2017 — «Making Africa» High Museum of Art, Atlanta, Georgia 2017 — Brassage Photographique, Villers - la - Ville, Belgium 2017 — «My Collection», MoCADA, Brooklyn, New York 2017 — «PAPER: work», Pioneer Works, Brooklyn, New York (solo) 2017 — Biennial Fotografica Bogota 2017, Bogota, Colombia 2017 — «PAPER: work», Art Africa Fair, Cape Town, South Africa 2017 — Figure 8, Foley Gallery, New York, New York ---------- 2016 — In Dialog II — Photobastei, Zurich, Switzerland 2016 — Addis Foto Festival, Addis Ababa, Ethiopia 2016 — «Jua Kali» as part of «Making Africa» at Kunsthal Rotterdam, Netherlands 2016 — «Tumia» part of Frontiers of The Present Exhibition, Circle Art Agency, Nairobi Kenya 2016 — «Jua Kali» at Africa Reframed, Copenhagen, Denmark 2016 — «Tumia» at GALERIA OLIDO for Afreaka Festival, São Paulo, Brazil 2016 — «Value» Exhibition at Brooklyn College Library, Brooklyn, New York (solo) 2016 — «Jua Kali» as part of «Making Africa» at CCCB, Barcelona, Spain 2016 — «Jua Kali» Exhibition at United Photo Industries, Brooklyn, New York (solo)---------- 2015 — «Displaced» as part of «FUSE», SVA Gallery, New York, New York 2015 — «Jua Kali» as part of «Making Africa» at Guggenheim, Bilbao, Spain 2015 — «Jua Kali» in OBSCURA Festival, George Town, Malaysia 2015 — «Jua Kali» in Rencontres Internationales de la Photo de Fès, Fès, Morroco 2015 — «Jua Kali» in LagosPhoto Festival, Lagos, Nigeria 2015 — «Jua Kali» in IFCV Festival International de Fotografia, Mindelo, Cape Verde 2015 — «Jua Kali» as part of «Image Afrique» 15» in ArtBasel, Theaterplatz, Basel 2015 — «Jua Kali» in Rencontres Internationales de la Photographie, Ghar el Melh, Tunisia 2015 — «Jua Kali» as part of «Edition POPCAP» at Artificial Image, Berlin 2015 — «Jua Kali» as part of «Making Africa» at Vitra Design Museum, Weil Am Rhein, Germany ---------- 2014 — «Untitled» — Art Cabinet, Nairobi, Kenya (solo) 2014 — «Jua Kali» — Exhibition at Kuona Trust Arts Centre, Nairobi, Kenya (solo) 2014 — «Value» — Exhibition at Kuona Trust Arts Centre, Nairobi, Kenya (solo)

A work near the beginning of the show in Kassel consists of twin photographs of a grid of Broodthaers's signature gold bars, which were notoriously minted and sold for twice the market price of gold, signifying their value as art.

The mass - produced art his mother purchased but never removed from its corrugated cardboard protectors, for instance, appear in Aranda's work as subtle markers of social aspiration and personal economies of value.

As the biggest nod that the art establishment (that is, the museums) gives to the commercial world (the galleries), the biennial can raise the value of a younger artist's work substantially.

Since the early 1990s, Pedro Cabrita Reis has made masterful use of architectural materials including cement, bricks, wood, steel, metal, beams and actual fragments of architecture, which he juxtaposes with elements from the visual arts such as enamels, pigment and neon light to create poetic, imagination - led works of great political value, capable of revealing memories associated with the context in which they are located and from where they come.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.