Sentences with phrase «what traditional artists»

Advertising and television quickly emerged as rich new mediums for expression and artworks themselves were transformed into branded products while the artists standing behind them were viewed as celebrities much more alike today's famous personas than what traditional artists were viewed throughout history.

Not exact matches

In the film's stronger moments, the artist in her definitely seems to be saying that the impulse to retreat into cultural fundamentalism carries dire risks, that much of what is old and traditional needs changing and there are some things about the detested process of globalization that are wonderfully liberating.

My fondest hope is that having opened up this can of worms the right parties will dig deep enough to determine what a pack of greedy ripoff artists the traditional publishing houses actually are.

Musa has a professional artist that does my cover AND (unlike traditional publishing), for anyone but the N.Y. Time best sellers, I had significant input into what that cover looked like.

We began with an initial group of traditional print comic writers and artists to get their perspective on what they'd like to be able to achieve with digital comics.

If you've ever wondered what might happen if you could peel back a layer of a ceramic plate or mug, then artist Beccy Ridsdel is a ceramicist who loves to explore what lies beneath the surface of traditional floral dinnerware.

Gynaecological instruments superimposed on the surface of the works disrupt traditional Romantic readings and imply a desire for human intervention in the timeless cycles of birth and death... [Kiefer] has been criticised for being theatrical... Yet in this increasingly frightening and unfettered world we need artists like Kiefer... who are prepared to face what is tragic rather than endlessly celebrating what is glib, slick and ephemeral.»

What I DO love is the idea of the online artist subverting the traditional gallery system.

To reach what Ross calls «the essence of my subject,» the artist makes imaginative and inventive use of both traditional and new media, including printing on unexpected surfaces, ambitious computer rendering techniques, and startling, architecturally scaled applications of augmented - reality software.

Painting became almost radical and came to represent a new intersection merging fresh ways of seeing and traditional methods of art making to rediscover, and reinvent, a medium rift with possibility and enlivened with artists actively re-imagining what painting could be.

The exhibition intends to feature both artists who clearly use traditional drawing methods to forge their artistic language, and artists — who although not traditional draughtsmen, have produced works which can be closely related to a vision of what does, in fact, constitute a drawing.

The exhibition shows the range of materials and processes employed by artists today — appropriation, traditional studio practice, spatial interventions, digital production, collaboration and the use of chance and found objects, and offers an indication of what audiences may encounter in art galleries in the coming years.

Ice fishing is also, along with traditional river fishing, Brooklyn - based artist Charles Harlan's hobby, and so a link, or rather a way of approaching apparently minimal practices, comes roughly into focus: a process of thinking about «work», and what is worked with.

The only artist to have come out of Brancusi's studio, Noguchi had unique insights into what Noguchi Museum Senior Curator Dakin Hart calls «that Modernist Eden of ambiguity — where traditional craft met the avant - garde, object became indistinguishable from base, and art was life.»

Juror, Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art, Indianapolis Museum of Art, Indianapolis, IN, mentions in her essay that, «Most of the works by Midwest artists chosen... challenge traditional definitions of painting or sculpture and instead explore a hybrid state that incorporates aspects of both...» We hope you will pick - up a copy and let us know what you think!

COUNTRY: The United States AWARDED BY: The DeVos Foundation WHAT IT IS: Numerous prizes ranging from $ 20,000 to $ 200,000, with the top honor awarded by public vote AIM: To promote critical dialogue and collaboration throughout the year with the goal of decentralizing the traditional, top - down art competition ELIGIBILITY: Any artist 18 or older who is able to secure an exhibition venue in Grand Rapids, Michigan, to show a specially created work NUMBER OF WINNERS: 10 winners chosen by the public and six winners chosen by a jury of art world professionals.

Other exhibition formats, old and new, have taken their cue from artists» changing modes of creating and presenting work, often intentionally pushing at the limits of what a traditional museum can support.

One floor comprises two artists, Zanele Muholi and Nikolai Bakharev, who shoot in black and white for what might be called traditional purposes — socially engaged portraiture and low - key observation.

It is a living room setting, with traditional, store - bought furniture upholstered in what looks like a traditional toile fabric, with matching wallpaper, designed by the artist.

In 1969, David Askevold, tired of traditional teaching techniques, introduced what he called the «Projects Class» in which he asked artists to formulate conceptual projects for the class to carry out.

«All the artists work with colour, they work with traditional media and at the same time it is all very thoughtful work, really thinking about what it means to be a citizen in the UK,» she said.

The curators spent a lot of time explaining (when I visited the show yesterday) how the artists here had questioned and eventually circumvented the traditional notions of what it was to be an artist.

German artist Georg Herold's compositions subvert traditional boundaries between painting and sculpture and challenge established definitions of what constitutes art.

Traditional definitions of what art can be become less and less meaningful as more artists around the world are creating work that straddles several different fences at once, pointing the way to a future in which art may become something else entirely.

The intention is to create what the artist calls a «suspended» and constructed array of forms in tiers that build outward into the gallery space from the traditional picture plane.

July 8 - 31, 2009 In «Portraits,» American Artist - in - Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high - art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd's «Criminal / Victim» series from 2009 depict both perpetrators and victims of the same crime side - by - side, visually blurring the line between innocence and guilt.

It might be seen as a reiteration of the traditional gallery format, but, similar to what each participating artist has done with Warhol's vision in his or her use of the Polaroid's dimensions, there is an important conceptual twist to it.

(28) What might it be like to teach a survey of art history and, instead of rehearsing the traditional examples of Pollock as a gestural painter and Mark Rothko as a Color Field artist, use Krasner and Fine as the primary examples of the style?

The New York School artists, who were just then crystallizing what would come to be called Abstract Expressionists, found inspiration in Tamayo's fresh, individualistic approach to traditional materials.

In «Portraits,» American Artist - in - Residence Rudy Shepherd presents a series of recent works that challenge and transcend traditional notions of who and what is a worthy subject of high - art portraiture, e.g., criminals, anonymous Taliban members, black heroes, or houses.The painted portraits in Shepherd's «Criminal / Victim» series from 2009 depict both perpetrators and victims of the same crime side - by - side, visually blurring the line between innocence and guilt.

Her second iteration of her interactive show Untitled: What You See or What Do You See during Art Basel Week in Miami during Spectrum Miami, focused on the relationship between art and the viewer's perspective, specifically challenging the traditional experience between viewer and artist.

«The found and the collaged are dominant modern modes: what artists choose to use, and how and why they present or combine them, count for more than their ability with traditional techniques.»

To what extent are traditional British values still relevant to artists in our multicultural society?

In the exhibition we want to show the artists views on what romance looks like to them, what they think about traditional forms and new possibilities of being romantic, where they (don't) see romance and if they either have a emotional or rational way of dealing with it.

What: Living Image, a juried art exhibition featuring traditional and alternative process photography by 23 artists selected by juror John Caperton

That temporary stall is behind her; Ferris is her own artist now, really simmering - to - boil in this new show that mixes images that look like traditional weaving, fizzling idiosyncratic patterns, digital imprints left by unknown ghosts, painterly reflexes that are as instinctive as an animal alert to where to move and what to do in a limited field, and how to survive, and kill.

Eugenio Re Rebaudengo What's really rewarding is knowing that you are supporting what is, in a way, the «next generation» of art: encouraging artists to explore new terrain outside the traditional boundarWhat's really rewarding is knowing that you are supporting what is, in a way, the «next generation» of art: encouraging artists to explore new terrain outside the traditional boundarwhat is, in a way, the «next generation» of art: encouraging artists to explore new terrain outside the traditional boundaries.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

Meanwhile there are artists who are focused on pushing the limits of what can be created through traditional painting.

In each case, the artist used nontraditional materials to create what appears to be a traditional art object.

From a completely new perspective, the artist examines the very notion of what desire is by rethinking and reshaping primarily the traditional genre of classical portrayal.

The medium suddenly came to represent an important intersection between new ways of seeing and a seemingly traditional way of making art — one full of possibility and thriving as many artists actively re-imagined what painting could be.

Updating the traditional small - town American social ritual for contemporary audiences, Robbins» Ice Cream Social shared many of the strategies of those artists associated with Relational Aesthetics, while at the same time pioneering what curator Hans Ulrich Obrist lauded as «an expanded exhibition model.»

Marin was born and raised in New Jersey and had what many would consider a traditional artist's education; he attended the Pennsylvania Academy of the Fine Arts in Philadelphia and the Art Students League in New York.

What I did know was that I would not be a gallery artist in the traditional sense.

Curator Okwui Enwezor's sprawling exhibition at the 2015 Biennale, Emily Jacir's engagement with the Palestinian crisis at the 2007 Biennale, as well as American contemporaries Theaster Gates (Rebuild Foundation and Dorchester Projects in Chicago) and Hank Willis Thomas (For Freedoms Project), are all part of a growing tide of artist - curator - activisits who challenge the traditional boundaries of what art is and whom it exists for.

This follows her participation in the gallery's fifth themed group exhibition «Around Drawing», which gathered artists who clearly use traditional drawing methods to forge their artistic language, and artists — who although not traditional draughtsmen, have produced works which can be closely related to a vision of what does, in fact, constitute a drawing.

Kaprow's concept was most famously realized through Happenings, during which the traditional role of artist - creator was replaced by what he called «the social occasion.»

The exhibitions, realized in close cooperation with the artists, expand traditional notions of what art is and explore the rich amalgam of voices and cultures that continually shape China.