Sentences with phrase «whether practicing artists»

98, «whether practicing artists, classroom teachers, development officers, or administrators, and we go on to do multiple things that you might not have known ever existed.»

Not exact matches

The discussion among artist educators of whether to prepare their students for careers locally or elsewhere kept coming back to the challenges of their own diasporic practices: balancing administrative duties, maintaining their portfolio websites, and finding the time to actually make work (read: childcare).

The format of Rythm Mastr, whether as an animated feature, graphic novel, or multi-panel sequence on newsprint, may feel like a departure from Marshall's painting practice, more tethered to pop culture than the high - brow arena where the artist's large - scale works fetch seven figures.

None of the artists chosen were printmakers, they were identified based on a combination of factors including the style of their existing art practice and whether the content or imagery would lend itself to being developed as a print.

Led by artist and Creative Director Calle Henzel and Joakim Andreasson, the studio collaborates directly with prominent contemporary artists to translate their respective practice, whether it be painting, drawings, photographs, collages, reliefs or sculpture on to this unusual medium.

Lucio Fontana and Alberto Burri, two postwar Italian artists, quite literally have practiced slash and burn, bit we can ask whether they are not giving the damage more of a veneer than they think.

One big decision the curators agonized over was whether to dispense with the traditional museum practice of devoting separate galleries for drawings and prints; paintings and sculpture; photographs; and film and video — in part because they felt that artists today think and produce across different media.

Ashley Stull Meyers» 2014 review of Conner's work at the Ulrich Museum of Art provides an excellent framing of his practice, whether you've recently discovered the artist or have admired his work for years.

This exhibition of paintings and watercolours, split across the gallery's two venues (28 avenue Matignon and 6 rue du Pont de Lodi), presents a practice premised upon the tension between raw material — whether canvas, found object, or space — and the artist's respectful intervention into it.

Whether someone earned a Masters degree in Arts Administration, is at the helm of an artist - run organization, or has a creative practice that requires an additional level of infrastructure, we hope to add a layer of education and support for Chicago - based arts professionals across the spectrum.

I should be interested to hear your summation of how the art world... By that I mean principally galleries, curators, and critics, controls and steers the general market for the artist's work: as in whether you think it functions in the same way as other business practice?

Hosted by Mihai Risnoveanu, Artistic Advisor of the Romanian Cultural Centre as part of Culture Power Presentation.The discussion will engage the ways in which contemporary artists navigate art history and ask whether it is possible to conceive of curatorial practice as a historiographic discourse.

Andrews referred to Duchamp when she described these props as «truer» readymades, claiming, «The inclusion of readymades have become so standard in artistic practice that the question of whether or not the artist made the object is of little consequence.»

«Whether abroad or within Baltimore, I'm looking not only at specific artworks, but also the overall practices and ideas of artists to see how they might grow the Museum's collection and its exhibition program,» explains Hileman.

Twenty years ago, artists were embroiled in trench warfare over the legitimacy of their respective practice, and whether it was critical or affirmative.

Featuring the drawing installations of Montreal - based artists Jing Yuan Huang and Jerry Ropson, Modern Fuel's newest exhibition, Wind from the East, offers varying interpretations on what it means to come from the East, and whether or not geographical directions have any bearing on today's globalized art practice.

GRAD Lab has invited Ukrainian artist Roman Minin to share his practice and thoughts on whether contemporary art in Ukraine today can only be political.

To better understand these ghosts that haunt the landscape of contemporary artistic practice and politics, I spoke with several young artists to find out whether they felt unencumbered by the prejudices of the past, as Isaacs optimistically described, and whether feminism does indeed have something to say today.

One of Sweden's most celebrated artists, Edefalk's intuitive and deeply personal practice often draws from things that she encounters in her everyday life — whether a field of dandelions, a novel, or memories of visiting a church in Italy.

With this project, we investigate whether there are any links between the artists» individual practices and these valued objects, which have been entrusted to us for the exhibition.

With works by artists from the US including Tauba Auerbach, Jessica Dickinson, Sam Falls, Alex Hubbard, Nathan Hylden, Rosy Keyser and Ned Vena, the exhibition looks at practices that involve a supplemental dimension to painting, whether that is photography, sculpture, printmaking or time - based interactions with painting.

It goes without saying the discourse over identity politics has intensified a lot in the past few years, and I think there's some debate over whether or not this intense focus on the gender / race / sexual orientation of artists is «ghettoizing» certain practices.

I think of artists» practices as unique, whether they relate to a specific cultural and historical context or deal with universal subjects.

Whether their practice is studio -, street -, or performance - based, artists are invited to use this opportunity to explore art that has public interaction and participation as significant elements.

Joselit considers the possibility of critical and artistic practices that may counter such failures of representation, instead staging a refusal or representation — a refusal perhaps nowhere more potent than in the performances of Pope.L, whether the artist is literally ingesting and expelling information, in Eating the Wall Street Journal, 1991 - 2000, or, in Foraing (Asphyxia Version), 1993-95/2008, covering his head with a white plastic bag that he clutches tightly below his chin.

With works by artists from the US including Tauba Auerbach, Jessica Dickinson, Sam Falls, Alex Hubbard, Nathan Hylden, Rosy Keyser, Michael E. Smith and Ned Vena, the exhibition looks at practices that involve a supplemental dimension to painting, whether that is photography, sculpture, printmaking or time - based interactions with painting.

Whether by drawing on existing texts or by entering into dialogues with artists, writers, filmmakers, musicians, and others, he deploys methodologies essential to curatorial practice: research, selection, juxtaposition, framing, etc..