Sentences with phrase «visual conceptual language»

Not exact matches

Participants engaged with materials and activities in whole group and small groups that demonstrate that science lessons can be richer, deeper learning experiences when we, 1) slow down the process and provide repeated experience over time with key concepts (e.g., observing and exploring ingredients one day; making play dough another day), 2) incorporate language and literacy into science explorations intentionally (e.g., using informational texts; using visual aids and key words in DLL children's home language), and 3) connect science to other content areas and provide extension activities that continue conceptual learning across time and across the classroom (e.g., measurement with ingredients; discussing other types of mixtures during snack time).

Peter Doig, whose practice over the past twenty years has drawn heavily on the language of cinema, layers the personal and public, figurative and abstract, visual and conceptual in works that resonate with narrative potential.

With a background in sound, performance and writing, Pasquier has developed a poetic visual language in her conceptual approach to photography.

The members of the Hungarian unofficial art scene were keen to break the conventions of concrete art, fluxus, conceptual art and even pop art, as established in the West, by combining them in their unique visual language.

This week, discover how three conceptual artists use language to emphasize ideas over visuals.

The main influences came from his contemporaries Joseph Beuys and Georg Baselitz, postwar tendencies in Abstract Expressionism and Conceptual art, but Kiefer is most regarded as an exponent of the Neo-Expressionism derived from Minimalism and abstraction, advocating representational and symbolic visual language.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Seattle — born artist Leigh Ledare's methodology is both conceptual and highly performative, utilizing photography, text, film and media to construct visual narratives that address language, relationships, eroticism and social convention.

The «protagonists» brought the Italian art scene to an international public with a pictorial language specific to the early 60s, a new painting using the power of color and the iconography of the monochrome as defining visual and conceptual elements.

Featuring a new commission based on Park Hill's original playgrounds built by architects Jack Lynn and Ivor Smith between 1957 - 61, it investigates the materiality and visual language of post-war landscapes through an immersive, climbable and conceptual landscape.

Functioning as a series of études to contemporary computer code, these paintings flirt consciously with the provocative gestures and meta - questions of conceptual art and the heavy visual language and history of abstraction.

The posters of Milton Glaser — more than 450 since 1965 — combine conceptual rigour and originality with a mastery of visual language and a high level of artistic expression.

The curatorial voice highlights the power of each artist's process, and the breadth of conceptual symbolic, and visual language.

Curator Francesca Herndon - Consagra mentions this explicitly in the conceptual statement about the exhibition, referring to Tadao Ando's architecture and Rock Settee by Scott Burton as principle points of curatorial investigation, and conflating them with the visual language and art historical touchstone of dreams.

Where previously language was presented as one kind of visual element alongside others, and subordinate to an overarching composition (e.g. Synthetic Cubism), the conceptual artists used language in place of brush and canvas, and allowed it to signify in its own right.

Community artists joined ASU alumni and graduate students for a group exhibition that used «the visual, conceptual, and material language of the office place» to explore the relationships between being and doing, art and life, and more.

Immensely creative and articulate, he is a modern renaissance man — one of a rare breed of intellectual designer - illustrators, who brings a depth of understanding and conceptual thinking, combined with a diverse richness of visual language, to his highly inventive and individualistic work.

The show, curated by Nina Levent, explores the notion of home and considers visual and conceptual languages that may represent it.

As Molesworth suggests, this visual transition acts as a harbinger for Lozano's conceptual «language» pieces which come into being directly after.

As they search for a contemporary visual language with which to express our anxieties, our harmonies, our questions and our trepidations, our contemporary abstract artists happily are finding inspiration and conceptual guidance in the iconic Modern voices of the past.

This aspect of the presentation will provide a view into Camnitzer's diverse practice as a conceptual artist, and will illustrate his critical role as a global link between developments of new visual languages in Latin America and New York.

They are also playful and even a bit erotic, adding a significant dose of warmth and humanity to a visual language known for its detached tone and conceptual slant.

As such, the art of Thilo Heinzmann can also be seen to engage with notions of aesthetic and conceptual fetishism — developing a visual language which makes eloquent the beguiling tension and resolution between sensory and visual phenomena.

These fledgling projects show budding artists striking out to discover a visual language of their own, and range from documentary photography to photography as a record of conceptual and performance art pieces.

Kawara gave special prominence to language, and his work is among those conceptual art examples that show how visual art skills are not necessarily required for a perfect artwork (of course, this does not mean On Kawara wasn't a master in visual art).

His books include Scene jezika [Scenes of language](Belgrade, 1989), Pas Tout (Buffalo, 1994), Prolegomena za analitičku estetiku [Prolegomena for analytical aesthetics](Novi Sad, 1995), Postmoderna [Postmodernism](Belgrade, 1995), Asimetrični drugi [The asymmetrical other](Novi Sad, 1996), Estetika apstraktnog slikarstva [Aesthetics of abstract painting](Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950 [Glossary of modern and post-modern visual arts and theory after 1950](Belgrade and Novi Sad, 1999), Paragrami tela / figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etc..

From the Automatistes in Montreal to the conceptual art movement in Halifax, to the influence of Clement Greenberg through the Emma Lake workshops on the Prairies in the 1940s, the visual language of shape, form, colour and line that exists for its own sake without reference to external reality, changed the artistic landscape in this country.

It identifies ten areas important to school success (the building blocks), divided into three levels: (a) the foundational level includes attention and impulse control, emotion and behavior, self - esteem, and learning environment blocks; (b) the symbolic processing and (c) memory level contains the visual, auditory, and motor skills blocks the conceptual level comprises using strategies and thinking with language and images.