Sentences with phrase «view as a dancer»

Not exact matches

As one writer put it metaphorically, in Whitehead's view the world fundamentally is a dance, and there are no dancers.

Part of the explanation arises from Balls» leap from an elected politician who some voters and journalists viewed with disdain to an awkward dancer who voters and journalists now hail as an adorable celebrity.

Conflating the artist's memory of a dancer's risqué routine aboard a transatlantic voyage with a no - holds - barred wrestling match Picabia viewed with his friend Apollinaire and first wife, Gabrielle, Catch As Catch Can insists and interprets simultaneously, offering up a critique of its own seductive advances.

Works on view by artists such as Isamu Noguchi and Andy Warhol highlight collaborations with acclaimed dancers such as Martha Graham and Merce Cunningham.

Viewed through this diasporic gaze, Hayek's character is reframed not as «the» or «a» belly dancer, but «my» belly dancer.

A private view will be held on Thursday 25 September from 6 - 9 pm featuring a one - off performance by artist collaborators Meta Drcar and Dori Deng featuring three female dancers responding to the architecture of the space, alongside a live performance of sculptural objects by Harold Offeh based on his series of work looking at elements of historical 17th and 18th century gardens as sites of artifice, spectacle and theatre.

A number of cast bronze sculptures that appropriate objects from outside of the Western canon will also be on view, including Gamelan Figures, Naga Effigy, and Little Dancer (all from 2017); as well as Monochromes after Van Gogh Sunflowers: 1 - 12 (2015) in which the artist makes use of pixelation to produce a series of monochromatic panels where the individual colors are derived from Van Gogh's iconic paintings.

As one of the first artists to explore the possibilities of video as a mode of expression, especially through his long - lasting collaboration with Merce Cunningham, Atlas has teamed with numerous dancers and artists to create projects that range from feature - length documentaries to shorter media works, transforming the way performance is viewed by its audiences and the art worlAs one of the first artists to explore the possibilities of video as a mode of expression, especially through his long - lasting collaboration with Merce Cunningham, Atlas has teamed with numerous dancers and artists to create projects that range from feature - length documentaries to shorter media works, transforming the way performance is viewed by its audiences and the art worlas a mode of expression, especially through his long - lasting collaboration with Merce Cunningham, Atlas has teamed with numerous dancers and artists to create projects that range from feature - length documentaries to shorter media works, transforming the way performance is viewed by its audiences and the art world.

The 75 artworks on view in Gridwork 1974 - 1989 include the series «Regression,» one of Gaines's first explorations of mathematical and numeric systems; «Walnut Tree Orchard» and «Faces,» which use photography as a foundation for graphic deconstructions; and «Motion: Trisha Brown Dance,» a collaboration with the world - renowned choreographer and dancer.

Works on view include 24 x 20 - inch large - format, single - image Polaroids Ray, 1979, and Self - Portrait, 1979 Known for depicting images of friends and family in his paintings, Close expanded his subject interests in his photographic work to include people he has met throughout his career, such as artists, dancers, actors, or politicians: Jasper, 1997 (Jasper Johns); Robert, 1997; Hillary Rodham Clinton, 1999; Renée, 2007; Bill T.Jones, 2008, and Alec Baldwin, 2010, among others.

I incorporate the written word in my «Video - sculptures» by choreographing dancers in a bird's eye view onto a green screen as they perform my «Video - alphabet.»

By means of accounts given by, among others, a psychoanalyst, a neurologist, a surgeon, a philosopher, a historian, a dancer and a musician, the phenomenon of phantom pain is viewed as a symptom of the denial and invisibility of such traumas as genocide, slavery and colonisation that are experienced collectively.

Mysterious reflections on the surface of the bronze sculpture and views of the surrounding wooded landscape are intercut with additional footage of Halprin as she pours through images of Rodin's sculptures that echo the shifting positions of the dancers.