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.
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!
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.
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.&raq
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.&raq
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.&raq
art'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.