Sentences with phrase «visual traditions as»

My practice seeks to reveal a profound interconnection within the types of beauty, orderliness and harmony that emerge in each form, as I see both visual traditions as reflections of a single aesthetic principle.

Milhazes draws upon local visual traditions as diverse as Baroque colonial art, folk styles of decorative painting and the mass - produced textiles, wallpaper, and ceramic tile of her everyday surroundings.

Not exact matches

Schama's analyses of Rembrandt's paintings of biblical subjects (as well as of Rubens's commissions from Oratorians, Jesuits and other Catholic factions) reflect a sound knowledge of the visual and doctrinal traditions that shaped them.

Instead, he theorizes: «The performance of Papitou's nudity is a part of what Malek Alloula names as the colonial «anthology of breasts,» a tradition in Orientalist visual culture in which the bust of the «colonial harem» is displayed in one of three forms.»

Not only that, the newly planted younger churches have also absorbed ethnic factors, such as language, dialect, custom, habit, tradition, life attitude, thought pattern, way of thinking, music, dance, visual art, etc..

Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.

Now after an even longer musical history of handling action films and trailer soundtracks form «Full Contact» to «Dishonored 2,» composer John R. Graham impressively carries on the saga's epic musical tradition with «Kingsglaive,» matching its astonishing mo - cap visuals with a score that captures both the characters» emotional stakes as well as the furiously drumming symphonic fury of its hellzapoppin mash - up of steampunk, sword and sorcery and giant monsters.

Since his early days, Jerry Lewis (in the grand tradition of Charlie Chaplin, Buster Keaton and Stan Laurel) had the masses laughing with visual gags, pantomime sketches and his signature slapstick humor, yet American critics typically derided his output as simple and abrasive.

The film follows the group of instrumentalists, vocalists, composers, arrangers, visual artists and storytellers as they explore the power of music to preserve tradition, shape cultural evolution and inspire hope.

Instead of arguing for arts education as an essential and independent component of the curriculum, a field necessary to impart and preserve the tradition of creative expression, they focused on the social and personal benefits to students who took classes in music, theater, visual arts, and dance.

As tradition dictates, the 2009 RS6 gets additional visual muscle through a subtle reworking of the S6's exterior styling.

These traditional landscapes — historically photographed by men — act as metaphor for a male view, and through this the feminine metaphor of the «red dot» emerges and creates a visual enigma which deliberately defies this tradition.

The game continues the tradition of hack - and - slash side - scrollers (or belt - scrollers, as this subgenre is sometimes known) established by cult favorites like Guardian Heroes, while updating the feature set for modern times with HD visuals and smoother gameplay.

Skygoblin's The Journey Down [$ 4.99] is a classic point and click adventure with a certain visual similarity to Grim Fandango, due in part to the way that many of the characters» faces are modeled on African tribal masks, and a setting and mythology that owes as much to African diasporic culture as Grim Fandango owes to Latin American traditions...

This newest Battlefront keeps the tradition going, this time with impressive visuals, excellent audio, and highly entertaining game modes, but it also feels a bit shallow as well with overly simplistic gameplay and lack of content.

Over the past twenty years, Morris has resolutely trodden her own path, developing an abstract visual language that transcends modern traditions such as Modernism, Pop Art and urban culture, with craftsmanship and material playing a leading role.

Most important, it will serve as a reminder that many of the brightest and most gifted young painters working today have chosen this tradition, among all available options, to help define the future of visual arts.»

Essential to Montgomery's work is the tradition of modernist Concrete Poetry, where the visual elements of words are as important in conveying the intended effect as the conventional elements of the poem, such as meaning of words, rhythm, rhyme, etc..

This meditative, painterly work is suggestive of Fischinger's overlooked contributions to Fantasia and is just one example of his wildly influential role as the father of the visual music tradition.

Whilst Houseago's oeuvre can be seen as a continuation of a historical sculptural tradition, the unusual combinations of materials, the inclusion of references drawn from popular culture and the unusual interplay between two and three - dimensional elements, all challenge the hierarchy inherent within visual forms, and the materials and values associated with them.

It is this that makes St Paul's visual arts programme seem pretty bold in its choice of artist; and it is part of its long tradition of engaging other modern artists — such as Henry Moore, Yoko Ono and Antony Gormley.

Since 1979, he has worked prolifically as a visual artist, constructing sculptures from found materials in the oldest tradition of African American sculpture.

In a visual arts context, Picabia, Schnabel, and Willumsen challenge the same concepts in their unprejudiced treatment of the traditions of art history and mass media images as well as private photographs and stories.»

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de Sao Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

Leigh's sculptural works in ceramic and other materials reference vernacular visual traditions from the Caribbean, the American South, and the African continent, as well as the black diasporic experience dating from the Middle Passage to the present.

Equally drawn to the history of figurative sculpture as to a wide range of craft and artisan traditions around the world — from ceramic techniques to glass blowing, enameling to welding — Upritchard pushes these practices in new directions, bringing them together to create a striking and original visual language of her own.

Artists who have lived and worked in the Caribbean, as well as artists living abroad who responded to the rich visual tradition and history of the area are shown side - by - side.

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

His work as a visual artist creates moments of synthesis between seemingly disparate bodies of knowledge and cultural traditions, through the media of painting and sculpture.

Drawing on global weaving traditions as well as the history of painting and sculpture, graphic design, and architecture, American artist Sheila Hicks has redefined the role of fibre in art and influenced a generation of contemporary artists with her interdisciplinary visual language.

Gilbert & George are famous and infamous for their provocative and controversial visual lexicon and have built a strong tradition of eccentric, radical, and pugnacious cross-disciplinary art practice — embodying performance, sculpture, and painting since they first met as students at St Martin's School of Art in 1967.

Like the camera itself, the tripod is usually invisible as something beyond the boundaries of the picture frame, yet unlike the camera, the tripod has no tradition of visual representation.

This tradition, of creating a catalog for the Ground Floor exhibition as a method of documenting and archiving this pivotal and vital moment in time, creates an unprecedented opportunity for a young voice to emerge alongside those visual artists presented here.

As such, it is a fertile arena for examining artistic florescence along geographic and cultural borders, in which foreign and native traditions mingle, fuse, and transcend their origins as they coalesce into a new hybrid visual culturAs such, it is a fertile arena for examining artistic florescence along geographic and cultural borders, in which foreign and native traditions mingle, fuse, and transcend their origins as they coalesce into a new hybrid visual culturas they coalesce into a new hybrid visual culture.

The event will focus on, among other things, the overlooked tradition of visual artists acting as choreographers, which has reached a kind of apex recently, especially with Sarah Michelson winning this year's Whitney Biennial grand prize, the Bucksbaum Award, the first time a choreographer has done so.

Drawing on a wealth of concepts and subjects from the atomic and the cosmic, geometry and optics, to time, rotation and visual perception, Seeing Round Corners will also include a selection of objects and images from world cultures, religions and history such as scientific instruments, technological images and works from spiritual and mystical traditions.

The first project to explore the visual art, poetry and music of one of America's most inventive yet under - recognized contemporary Native American artists, this exhibition will survey Cannon's highly productive but short career; his development of a unique and hybrid visual vocabulary; and his combination of irony and wit with a reverence for community and tradition to interrogate American history and popular culture; as well as the issues wrought by colonialism, hegemony, and historical amnesia — all through his Native lens.

This is evident in the understanding of the buildings as undressed cubic volumes of geometry, descendants from sculptural minimalism; also, in the exploration of color and their application in visual rhythmic structures that invokes the legacy of the pictorial constructivist tradition, but from a clear awareness of the use of the camera as a working tool.

Both galleries presented works by Latin American photography masters as well as the contemporary artists defining new traditions in Latin American visual culture.

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de São Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

The work draws upon the traditions of landscape painting and natural science illustration, and incorporates the visual language of maps, diagrams, and artifacts, as a way of exploring our connection — many times via objects — to specific places and occurrences.

This merging of visual and cultural traditions informs the practice of many Australian and Chinese artists as they retain and draw upon...

The Chapmans» oeuvre represents a prolonged philosophical investigation into the turmoil and violence of contemporary existence, placing them in a tradition of protest and pessimism in the visual arts alongside artists such as Goya, Bruegel and Otto Dix (both Bruegel and Dix painted works titled The Triumph of Death).

Their piece The Dragon of Profit and Private Ownership (2017) commissioned for the festival is a similarly playful take on the visual culture of protest and folk traditions, inspired by a Northumbrian miners» banner design from 1924 (the dragon emerged as a motif in 19th - century radical pamphlets).

The second section of the exhibition, «To Learn is To Create,» showcases earlier works made between 1945 and 1954, a period in which Zao tapped diverse visual traditions and methods, ranging from European painters such as Paul Cézanne, Marc Chagall, and Paul Klee, to ancient Chinese bronze inscriptions, rubbings from Han - dynasty tomb decorations, and Tang - and Song - dynasty landscape paintings.

This simple gesture not only reintroduces «the hand» into the formula, but it as well, returns the idea of abstraction to the cultural sources that it was once taken from: Non-Western visual traditions of Native America, Africa, India, Mexico and South America.»

The Kabakovs are amongst the most celebrated Russian artists of their generation, widely known for their large - scale installations which draw upon the visual culture of the former Soviet Union and narrative traditions of Russian literature, often addressing universal themes such as utopia, dreams, fears and the human condition.

This simple gesture not only reintroduces «the hand» into the formula, but it as well, returns the idea of abstraction to the cultural sources that it was once taken from: Non-Western visual traditions of Native America, Africa, India, Mexico and South America,» explains MacConnel.

Even as the medium evolved artistically toward a documentary precision and a fidelity to appearances, it developed an alternative history, a tradition of testing the boundaries of the visual.

The QAG is committed to strengthening its holdings of early Australian art and artifacts, so as to reflect the visual traditions of Queensland's Indigenous peoples in all their rich variety.