Sentences with phrase «with different art forms»

Not exact matches

Jenn Lisak, Director of Content Strategies at DK New Media, says «Content marketing strategy is as much an art form as it is a process; when working with a client on an infographic or a whitepaper, I have to pay attention to target audience, aligning the messaging with the brand, appealing to different types of learners and personality types, and whether the curated content is going to resonate with our desired buyer persona.»

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

Artists such as Michelangelo and Leonardo DaVinci inspired generations with their perfection and style of art and this is no different to Alessandro Nesta whose legacy in the world of football and his ability to make defending an art form has left its mark on this generation and the world of football.

Beyond that the birds diverge: Different species have perfected the art of enclosure with myriad forms and resources.

Starting with 2 - D structures formed using state - of - the - art methods in semiconductor manufacturing and carefully placed «Kirigami cuts,» the researchers created more than 50 different mostly closed 3 - D structures that, in theory, could contain cells or support advanced electronic or optoelectronic devices.

Language arts: Effectively organizes, synthesizes, and professionally communicates ideas, findings, and discoveries, orally and in writing; adjusts their use of spoken, written, and visual language to communicate effectively and respectfully with a variety of audiences and for different purposes; utilizes a wide range of strategies to comprehend, interpret, evaluate, and appreciate all forms of text.

it's illustrated with great classic art (Degas, Manet, Velasquez) showing how each very different beauty highlights her individual body using color, pattern, shape, line, volume, contrast, etc. it's a crash course in art appreciation and how that applies to flattering the human form.

Passionate about art in all its forms, travel and of course writing, I propose to share with you my different passions on my website and on the blog!

These four styles all offer unique and different forms of fighting with your weapons, and just like the Hunting Arts, you can choose whichever feels most natural to you to make things as easy as possible.

With a good range of images to illustrate different forms of perspective, the presentation is useful for generating discussion and improving art historical understanding.

To develop a range of skills to use when working with paper artists and craftsman To learn to coil, scratch, spiral, fold, bend, cut and lift, twist, emboss, layer, cut, roll and manipulate paper To learn about different paper artists and craftsmen who work with paper as an art form.

Passionate about art in all its forms, travel and of course writing, I propose to share with you my different passions on my website and on the blog!

I am doing 4 different styles all very different and I think I need to concentrate on just one and build it I just don't know which art form to go with.

This took different forms in art, but, for example, they would depict figures with stretched or strange proportions and, in contrast, render them with breathtaking technique (a bit like like John Currin).

This is not the case for all the work, and two pieces, radically different in form and composition, move beyond the intricacies of internal formal dialogue to effectively engage with the viewer, the gallery space, and larger questions about art's transformational power.

Reflecting on the platform's recent death, Gabi Ngcobo (Center for Historical Reenactments [CHR] member and faculty at Wits School of Arts in Johannesburg), in collaboration with artist Kader Attia, will contemplate how staging an institutional suicide can not only be a form of refusal but also a means to desire a different existence, one that enables the platform to haunt obsolete systems and ideologies that continue to condition contemporary life.

The group exhibition allows not only for an encounter with different forms of reflection and expression, but also offers a space for spontaneous art actions and further discussion.

It was also Baldwin who taught me to consider connections between different forms of art through his relationship with the great painter Beauford Delaney, an artist whose work I would eventually own.

But just as I like dinners presented with their potatoes, veggies and salad all with their separate places on the plate, I like different art forms presented so they don't run interference with one another.

Although many different styles are encompassed by the term, there are certain underlying principles that define modernist art: A rejection of history and conservative values (such as realistic depiction of subjects); innovation and experimentation with form (the shapes, colours and lines that make up the work) with a tendency to abstraction; and an emphasis on materials, techniques and processes.

Critic Chris Cobb suggests that Bourriaud's «snapshot» of 1990s art is a confirmation of the term (and idea) of relational art, while illustrating «different forms of social interaction as art that deal fundamentally with issues regarding public and private space.»

Given its scale, it is instructive to compare this large piece with the paintings featured in the show: where form and an entirely flat painted surface lend strength to the paintings, the subtle human touch inherent to the printers art yields a different sort of gravity, and perhaps timelessness, to the works on paper.

With choreography specific to the structure of the building, a soundscape recorded over a month - long residency, and a narrative inspired by the centuries - old curatorial conundrum of the «Summer Exhibition», this is the London premiere of a performance which has taken different forms at a number of venues including the National Museum Stockholm, the Hamburger Kunsthalle and Birmingham Museum and Art Gallery.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Consequently, the relatively small, easel - scale paintings of the Southern Californians revealed a freshness in their coming to terms with reductive form that occurred on a much different level than the physical / material emphasis of Minimal art in New York.

All teens ages 13 - 18 are invited for a FREE drop - in art - making session on the third Saturday of each month from 1:00 - 3:00 p.m. Explore modern and contemporary artwork, meet other talented teens, and experiment with different materials and a wide range of art forms such as visual art, slam poetry, fashion, and creative writing.

Art Night is a mini-festival conceived and organised by Unlimited Productions who, each year, will invite a leading cultural institution and curator to work in a different area of London, exploring the history, culture and architecture.The first edition is curated by the Institute of Contemporary Arts (ICA), with curator Kathy Noble, who will present a series of artists» works and new commissions in unusual locations across Westminster, forming a trail running from Admiralty Arch to Temple.

Though intertwined in practice, the pictorial and the presentational represent two different worldviews, one identified with art as form, as something made, or something its maker arrives at, while the other regards art primarily as a set of cultural signs, or a strategy that produces an artifact, something meant to be read.

They would have agreed with Bowling that art could best move forward not by representing what already exists, but by twisting existing realities into different, perhaps unrecognizable forms, managing «time and time again, despite inflicted degradations, to rearrange found things, redirecting the «things» of whatever environments in which Blacks are thrown, placed, or trapped.»

It plays with the entrenched systems and values of the art world, in particular the perceived hierarchies that govern different art forms.

With different expressive media, references and semiotics, they create artworks in full dialogue between them, negotiating this trend that has emerged in recent years in the international art scene, in which handicraft, folklore, history, the folk, and the local culture, stand shoulder to shoulder and coexist, from the 90s in New British Scene, but also later through individual cases of artists who originated form the periphery of the Globe.

Storytelling, pantomime and dry humour are interwoven with abstraction, conceptual art and contemporary, experimental performance producing an absurd, esoteric and multi-layered vocabulary of forms that teases the audience and plays with conventional rules of theatre and different art forms.

She was one of the pioneers of abstract art and she used to love playing with forms and shapes, with geometrical objects and different patterns.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

Based on the philosophy of Chinese Literati where art forms have no hierarchy, the Galleries is dedicated to breaking down boundaries between different disciplines with a unique gallery model committed to encouraging cross-cultural exchange.

That they can be installed again in the same or in a different form on another occasion is just one of the ways in which the artist comments, with relish and wit, on the complex commodity character of art.

Working in diverse media with individualized processes and styles, and coming from different levels of exhibition experience, art education and artistic career, their pursuits take many forms.

A part of the fabled Vollard Suite — a group of 100 prints the artist created for the Paris art dealer in Ambroise Vollard in the 1930s that mingle the artist's erotic preoccupations and newfound obsession with classical forms — this piece functions as one of Picasso's many self - portraits - by - proxy, in which he imagines himself in the guise of a (usually priapic) artist from a different era, such as Degas or Raphael, often dallying with a model.

These prints bore no comparison with the large - scale and collective art projects Tonoshiki was involved in around the time we met, but looking back, though their form may have been different, there were commonalities in terms of the strength of the desire (anger) to once more forcibly «reverse» into reality rubble and waste materials that had been robbed of their function in real life.

«21 January 2012 to February 21, 2012 Space Pelodrilli host the exhibition «INTRO» of 108 and Mark Cecotto, which has as its second in a series of exhibitions sponsored by No Title Gallery, a project that brings together artists in exhibitions «two ``, with the intention of bringing artists and different art forms, triggering innovative and creative synergies.»

With innovative concepts of form, content materials and techniques, analytical handling of the environment and different visions and approaches to what art is, abstract sculpture authors from our list have blown a breath of fresh air into the soul of the 20th - century sculpture completely changed the course of modern art.

They experimented with new ways of teaching and learning; they encouraged discussion and free inquiry; they felt that form in art had meaning; they were committed to the rigor of the studio and the laboratory; they practiced living and working together as a community; they shared the ideas and values of different cultures; they had faith in learning through experience and doing; they trusted in the new while remaining committed to ideas from the past; and they valued the idiosyncratic nature of the individual.

Form is challenged throughout the exhibition — pieces such as Venn Diagrams (under the spotlight), where slightly overlapping theater lights with red and blue gels are projected onto the wall, or Eavesdropping, where a series of different colored vintage drinking glasses are inserted into the wall, as if suspended, are cheeky, playful, and adventurous — going against the expectation of conceptual art as an exclusively stark monochrome, while remaining sparse and poignant.

On the outbreak of the Second World War she moved back to London, but had difficulty in gaining recognition by the British art establishment, possibly because of her identification with Paris at a time when the London art world was beginning to acquire its own separate and different reputation However, in 1952 she was invited by Andre Bloc, president of the Parisian constructivist abstract movement Groupe Espace, to form a London branch of that movement.

Beginning with the Spiral group, 15 artists who formed in the context of the March on Washington Bridge for Jobs and Freedom in 1963, the exhibition frames a broad selection of artists who took different directions in relation to aesthetics, politics and art - making in a time of extraordinary turbulence.

• Demonstrated expertise in providing students with information and education regarding different art forms, and their history and cultural settings.