Sentences with phrase «with aesthetic practices»

Not exact matches

Oneida County's housing stock is among the oldest in New York State, and while sturdy and architecturally aesthetic, is covered with lead - based paints requiring specialized knowledge of lead - safe work practices compliant with the Environmental Protection Agency (EPA) regulations that went into effect in 2010.

Essential elements of Root Down's 4,000 square - foot space incorporates sustainable practices along with design aspects reminiscent of the energy, aesthetic and pulse of the 1960's, when air travel was a luxury.

We all know that great sense of visual art is inherent, but with a little bit of practice you can certainly learn the art of visual communication and improve your aesthetic skills, even if you are not a designer.

Josephine Meckseper (b. 1964) has developed a practice which melds the aesthetic language of modernism with a profound critique of consumerism In her shop windows, vitrines, installations, photographs, films and magazine projects she draws a direct correlation to the way consumer culture defines and circumvents subjectivity and sublimates the key instruments of individual political agency.

Concurrently, 6 Artists / 6 Projects (February 10 — August 29, 2015) presents new works by some of today's leading contemporary artists in Israel, whose practice resonates in counterpoint with the aesthetic traditions that accompanied the opening of the Museum 50 years earlier.

I approach these two exhibitions with the ironic realization that I was schooled in the same male universal aesthetic value system that Schapiro struggled with — both internally and due the external art world — as she sought a feminist practice; it is one of my critical considerations.

The combination of unique handmade furniture pieces with sculpture visually demonstrates the aesthetic connection between Yektai's design and art practices.

Definitely not a retrospective, this show unveils the latest stage in Shapiro's aesthetic practice that spans five decades by exhibiting the commissioned installation along with five of permanent collection pieces and one borrowed from the collection of Nancy Nasher and David Haemisegger, the amazing 20 Elements, 2004 - 2005.

On view through December 23, Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT will provide an all - encompassing experience of Du Pasquier's aesthetic, organized in close coordination with the artist to demonstrate the seamless boundaries between functional and decorative objects in Du Pasquier's practice.

Beginning with her early photographic series Women of Allah (1993 - 1997), and continuing through her current practice, Neshat has consistently and fluently probed issues of gender, power, displacement, protest, identity, and the space between the personal and the political with a singular and powerful aesthetic.

The exhibition takes its inspiration in part from the 1985 New Zealand post-apocalyptic film of the same name, and serves as an abstract documentation of the ways that humans have responded to the ecological crises of climate change with scientifically informed aesthetic practices.

His work can be seen in the files of Museo del Barrio, N.Y.; Drawing Center, N.Y.; the flat files at Pierogi 2000, Brooklyn N.Y.; and Heskin Contemporary, N.Y. Currently he co-manages «Rumpelstiltskin,» an exhibition art space for aesthetic research in south west Guadalajara, Mexico, where he has curated Paranormal Bureu, a multimedia show with three artists from Brooklyn N.Y. My unorthodox practice links me to a generation of artists with a very wide range of approaches to art, that question the interest of the establishment particularly in museums and commercial venues.

Marlene Dumas» practice is two-fold: on one hand conveying politically potent messages that are more often than not critical, and on the other being deeply concerned with the surface, aesthetic potential of paint.

EXILE presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generational and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

Spanning drawing, painting, and printmaking, Ryman's practice engages with aesthetic experience, wherein acts of presenting, perceiving, and contemplating are a part of his work as much as his artistic process.

«While he is no stranger to the Bay Area, with this mini-survey, Adam will give local audiences an incisive entry point into some of his most important ongoing bodies of work, as well as the complex ideas and aesthetic challenges he explores within his practice.»

Through public talks and intimate seminars and studio visits with UH students, internationally recognized scholars, curators, artists, and critics will investigate the idea of the contemporary as both a temporal and aesthetic framework to broaden critical understanding about how we situate current artistic practices.

Furthermore, this exhibition sheds light on the aesthetic universe of Carron, providing foundations for his visual and conceptual vocabulary and allowing insight into a practice that combines strategies of appropriation with sculptural bravado.

It brings together the studio work of these two artists along with their social practices as a way of sharing, integrating and complicating aesthetic practices and personal histories.

Other artists even united a Pop aesthetic with their own folk traditions, bringing together contemporary imagery with local practices.

Among the earliest examples of Conceptual Art, it was with these seminal paintings that Baldessari reconsidered the practice of artmaking, questioned the concepts of authorship, originality, and aesthetic judgement, and first explored the narrative potential of imagery and the associative power of language that continues to inform his work today.

Agnew has re - examined his own practice, stripping back to reveal «[the works»] simple aesthetic roots, with the intention of allowing the pieces to speak a language of universals rather than of specifics.»

Organized and curated by Takashi Murakami, Blum & Poe's group show of Japanese ceramics showcases a new generation of artists whose works merge traditional Japanese ceramic practices with a contemporary aesthetic.

By absorbing various alternative influences, refereeing to an art history momentous phenomenon, and interfering with pop culture, Sterling Ruby has made quite an effort to position his art practice as the communication tool not just in the purely aesthetic sense, but in social and political as well.

Currently a Victoria based artist, Gruben has developed a strong aesthetic and practice of working with materials linked to her home in the Inuvialuit hamlet of Tuktoyaktuk in the North West Territories and to the Coast Salish territories of Vancouver Island.

Jonathan Monk creates artworks with satirical, personal or humorous twists on the aesthetic practices and artistic ideologies of the 1960's and 70's.

Designed in close collaboration with Flavin Judd and Judd Foundation, Donald Judd: Cor - ten sheds new light on a body of work that represents the culmination of three decades of aesthetic output and underscores the mastery and control over material and space that characterizes Judd's practice as a whole.

Operating within this zeitgeist, artists experimented with a range of practices that questioned authorship, explored new collective forms of art making, and opened up new modes of aesthetic experience.

As Robert Slifkin notes in his essay written for the exhibition catalogue: «while Roszak certainly identified himself first and foremost as a sculptor, coming of age as an artist when such medium - specific monikers were fundamental to aesthetic practices, he consistently produced finished drawings... that can not be considered ancillary to any specific sculpture... A relentlessly productive artist, Roszak invested all of his creative practice with equal vigor and intensity.

Leonard accentuates his career as a «man - on - the - street» journalist with a confounding art practice, using his investigative eye to look closer at technology, current events, and the aesthetic representation of these topics with video, performance and sculpture.

Michael Riedel lives and works in Frankfurt, and his artistic practice incorporates painting, text, audio, video, photography, publishing, architecture and performance to engage with the aesthetic possibilities derived from the basic principles of recording, labeling and playback.

Exile presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generatioal and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

By way of these well - conceptualized projects, the gallery hopes to carry forward its practice of sustaining a dialogue with the viewers at the level of artistic perception & aesthetic debate while also simplifying the process of buying art and bridging the gap between the art world and the art market.

Athol has created a spectacular, eye - catching exhibition with his exciting multi-disciplinary approach to his practice combined with a distinctive pop - art aesthetic.

Since its inception in 2009, the course has been recognized as a platform for open discussions on curatorial practices and theoretical discourses of contemporary art with special emphasis on the strategic and aesthetic approaches of biennales.

Conscious of the density and tension of his materials and practice, Wadden's focus on form seeks to physically meld the aesthetic gender and status roles associated with craft and abstraction.

From the beginning, he insisted on informing and defining his practice based his experience and knowledge, refusing to «align his work with the prevailing aesthetic.»

Yet her influences are not limited to the visual arts: music, film and fashion have helped define her aesthetic, with the likes of David Bowie, Vivienne Westwood, Alfred Hitchcock and David Lynch having a huge impact on her practice.

This approach dovetails with what Kobena Mercer (2016) named «cut - and - mix aesthetics,» or call and response in visual art by African American and Black British artists, as paradigmatic of post-1980s black diaspora aesthetic practice.

The foundation of this handmade aesthetic, however, lies in the rigor and fastidiousness with which the artist and his high - functioning studio construct both the objects themselves and the conceptual and intellectual benchmarks that guide Sachs's life and practice.

His theoretical and aesthetic innovations greatly contributed to our modern obsessions with memory and celebrity, and provide a timely reminder of the possibilities for politically - engaged artistic practice in the twenty - first century.»

Catherine Opie fuses the observational tradition of American photography with a European poststructuralist approach to identity politics in a practice that seeks to determine the aesthetic and cultural languages that articulate community.

With a powerful aesthetic and refreshing assurance, the works of «Wide Wake» bring together disparate aspects of the artist's practice.

In a discussion that looks at critical art practices from the late sixties and early seventies, Dyment situates the work of Woodeson, Haegele and Ashmore as a contemporary re-examination of issues and the aesthetic of early minimal and conceptual art practices, but one that is, instead, less confrontational and is imbued with a welcoming invitation and sense of play.

The culture and customs of the Huni Kuin, their knowledge and craft skills, their aesthetic sense, their values, their world view, and their spiritual connection with nature, have transformed Neto's conception of art and become integral elements of his artistic practice.

All the artists share similar productive tensions within their practices: direct or hinted at autobiographical references synthesise with a distant, controlled aesthetic and emotional restraint; the obsolescence of the image is contrasted with the image as a source of hope, and even personal salvation; the apparent stability and naturalness of landscape is set against the urban environment and modern architectural practice and its accelerated entropy.

Discussing his work with artist Sam Durant at the Hammer earlier this month, Gaines explained that his practice is a struggle against «art as a subjective practice,» and that he seeks to avoid aesthetic decision - making because it privileges «the idea of beauty or pleasure as emerging from the site of the self or the ego.»

Her ongoing practice betrays a deep debt to the history of landscape and portrait photography — in particular nineteenth - century photographers such as Roger Fenton, Timothy O'Sullivan, and Gustave Le Gray, who were concerned as much with the richness of the photograph as a visual or topographic document as they were with any supposedly independent aesthetic value.

Auxerre is an important example of Hofmann's revolutionary painting practice, exemplifying both the technical and aesthetic breakthroughs that Hofmann pioneered, and it resonates with the seismic shifts in art that occurred during this dynamic period of discovery.

EN MAS» includes scholarly essays by leading art historians Shannon Jackson and Kobena Mercer along with the two curators Claire Tancons and Krista Thompson, which offer formal and theoretical analyses of the artists» projects as well as explorations of Caribbean aesthetic practices and their impact on art and performance studies more broadly.