Sentences with phrase «where alternative art»

Your first show at the Power Station was in 2011 and you founded the space as a way to build up the cultural landscape in Dallas, where alternative art spaces were thin on the ground.

Given the affordability of the city, its proximity to Berlin, Amsterdam, Prague and Paris, and a dynamic freiraum culture, Leipzig has become a cultural focal point, where alternative art practices converge.

Not exact matches

Using arts - based pedagogies or arts - inquires goes beyond singing the times - tables or watching a topical DVD, it is about framing learning experiences to connect the cognitive with the emotive, to critically examine assumptions, understandings and beliefs, to view things from different perspectives, and create a space for experimentation where alternative views can be explored.

The one example where an observer rated a lesson's technology as less useful than an alternative was a situation where a time - consuming art activity facilitated with technology likely detracted from the quality of scientific information that the students were being asked to research and present.

The book was a zany delight, depicting an alternative version of 1985 where literature and the arts ARE popular culture.

The thing is, criticism is not only useful for specific AAA titles, its essential to tipping the situation of indie art games to the point where the already completed work is culturally elevated and alternative financing sees it as something worth encouraging.

Limitations in some templates; too much wasted white space (would love my work to be displayed much larger); integration of pages to sell prints and / or products with my work on it in pages with the original artwork (lower priced or alternative options for folks who aren't yet ready to invest in fine art); room setting view where customers can see the size / shape of a painting / print in an actual room like over a couch or bed, in a kitchen, etc; greater options in template layout (social buttons and email NL signup at top of page, etc).

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

Art can offer a distorted mirror where things are turned upside down and set agreements are temporarily suspended; where right is wrong, and wrong is right; an alternative reality where hierarchies, systems of values and norms are turned to their opposites, if only for a moment.

All alternative exhibition spaces — if they're worth talking about at all — attempt to function in an idealistic mental space, where direct communion with the work of art is paramount.

After several years at the alternative art space LAXART, where she helped produce both the «Pacific Standard Time Performance and Public Art Festival» and «Made in L.A. 2012,» the first biennial to hit Los Angeles, Hunt was tapped by the Studio Museum in Harlart space LAXART, where she helped produce both the «Pacific Standard Time Performance and Public Art Festival» and «Made in L.A. 2012,» the first biennial to hit Los Angeles, Hunt was tapped by the Studio Museum in HarlArt Festival» and «Made in L.A. 2012,» the first biennial to hit Los Angeles, Hunt was tapped by the Studio Museum in Harlem.

In a setting where all strategic plans and arguments reside in conjecture, this publication not only aims to introduce a set of critical responses to the most recent support structures in the arts, but also imagines alternative possibilities for how these structures might be built and influence the practice of artists, curators, and other cultural producers.

We encountered her kinetic installations for the first time at the alternative art fair Und in Karlsruhe, Germany, where Kathrin Haaßengier showed the piece Aklinea.

The tinny rhythm of the drips — musically scored by artists Tobias Madison, Emanuel Rossetti, and Stefan Tcherepnin — is just one example of the work put on by Dallas's young alternative art space, where the programming teeters on the brink of artistic anarchy and avant - gardism.

Some artists, Hershman Leeson is one of them, transcend the contemporary artworld norm and build alternative universes, contexts and identities, where the art is so investigatory and esoteric, traditional conventions are challenged.

From 2010 - 12, Doğtaş was part of the Kunstraum München, an art association focusing on political and conceptual art, where he organized an alternative academy called «Forms of Informal Research» (2011), and curated the first solo exhibition of Palestinian - Jordanian artist Oraib Toukan's work, entitled Splice (2012).

The Patchogue Arts Council and Roast Coffee and Tea Trading Company created the PAC Members Gallery at Roast in the summer of 2013 as an alternative exhibition venue where PAC members can exhibit their artwork.

Others seek to keep up a program born out of subjective endeavours and shared with a worldwide community: such as LIFE SPORT in Athens, which sells «critical wearables» — the LIFE SPORT joggers — as an attempt to generate alternative arts funding in a time and place where there is none; Opening Times, which is an online - only exhibition platform; Peach, an exhibition space and home in Rotterdam; and I: project space, which fills a gap in the Beijing art scene by presenting video art and supporting artist exchange via residencies.

Only two years earlier, Wilson had opened the alternative art space Franklin Furnace where I met her for a talk about identities, feminisms, collaborations — and aging.

The extra attractions include Frieze Masters (work done before the year 2000, including art by Alexander Calder, Joan Miró and Romare Bearden), Frieze Talks (daytime events with a 2017 focus on the age of «alternative facts»), music, film, guided tours and a place where beginners can buy artwork for 50 pounds (about $ 67) or less.

Another was «Macho Man Tell It to My Heart: Collected by Julie Alt,» an exhilarating exhibition of contemporary works accumulated by Ms. Ault, an inveterate alternative - art worlder, organized at SoHo's Artists Space, where, for better and for worse, every show is some kind of departure from the exhibition form.

What: Hippie Modernism: The Struggle for Utopia Where: The Walker Art Center, Minneapolis, MN When: October 24, 2015 to February 28, 2016 Why: If the title isn't enough to intrigue you, the exhibition will chronicle the art, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival filArt Center, Minneapolis, MN When: October 24, 2015 to February 28, 2016 Why: If the title isn't enough to intrigue you, the exhibition will chronicle the art, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival filart, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival films.

In various installations, delicate silks move subtly, interacting with the kinetic flow of light and air in the gallery, as each viewer has a unique experience with the work depending on the weather and time of day; viewers» appreciation of the work deepens as they approach her art from alternative angles, where it materializes differently.

Her work has been featured in exhibitions both nationally and internationally in various museums, galleries and alternative venues including: Université Lumière Lyons (Lyons, France), Pratt Institute, Icosahedron Gallery (New York City), East Hall Gallery (Brooklyn), SALTWORKS (Atlanta), The Front (New Orleans) and New Orleans Creative Center for the Arts where she attended high school.

She has an MFA in fiction from Columbia University, and was Director of Education at Pioneer Works where she organized the Alternative Art School Fair and the annual Summit on Pedagogy.

Ezra Winton holds a PhD in Communication Studies from Carleton University, and is currently a Postdoctoral Fellow at Nova Scotia College of Art and Design University where his research and teaching interests include radical and alternative media, social movements, documentary cinema, institutions and culture as well as global cinema and new media platforms.

We ask art historians about the training, methodologies and practices required to write a substantial and informed history of Indonesian art; we foster interaction between art historians and artists in our community through interviews; and we encourage artists to use their studios as laboratories where the present and the past collide, creating alternative, hybrid forms of understanding.

Now, Higgs is the director and chief curator at White Columns — «New York's oldest alternative art space» — where he's worked with more than 500 artists since 2005 including Luke Fowler, Sarah Anne Lobb, and Judy Linn.

«My mission was to generate an alternative platform, a space where work could be created — music, contemporary art, film, any medium really — that lives independently, without the necessity of a specific place.