Sentences with phrase «work as an art objects»

As she solemnly points out, even Sherrie Levine began to enjoy her works as art objects.

Now you have a pretty good idea of what your resume should look like if you want to work as an art objects sales person.

Not exact matches

This is primarily because it has proven to be a powerful aid in the effort to avoid dealing with works of art or literature as products of the human spirit: aesthetic objects that move us with their intricately wrought beauty, humor, and insight.

In understanding the work of art as a language - event, an image - event, the hermeneutics of Hans - Georg Gadamer and Paul Ricoeur offered a critique of the formalists» tendency to make «meaning» a static object.

And Glen or Glenda, at least, is so personal and horrifying an object that it arguably qualifies as great art, despite the fact that the corporate video store I worked at in the 90s deemed it so bad we would rent it out free of charge.

In fact, the importance of the printed book, as physical object, as cherished possession, as work of art, has increased in the eyes of the public.

Little Works of Art (13:00) Kim Best «s look at Harold «Cat Man» Sims and his self - styled American Museum of the House Cat in Sylva, NC, which houses over 10,000 cat - related objects and honors cats as «little works of art.&rWorks of Art (13:00) Kim Best «s look at Harold «Cat Man» Sims and his self - styled American Museum of the House Cat in Sylva, NC, which houses over 10,000 cat - related objects and honors cats as «little works of art.&raqArt (13:00) Kim Best «s look at Harold «Cat Man» Sims and his self - styled American Museum of the House Cat in Sylva, NC, which houses over 10,000 cat - related objects and honors cats as «little works of art.&rworks of art.&raqart.»

• Follow the level design pipeline from «pen & paper» game designs to implement spectacular character based levels and ultra-fun gameplay mechanics • Work closely with level layout artists to identify level assets and gameplay direction to ensure visual and technical quality for the levels • Follow direction of Lead Level Designer to maintain gameplay vision consistency • Contribute to level concept, layout, implementation (camera, entity, etc.), prototype modeling, scenario creation, event scripting, game balancing, pacing, and gameplay tuning • Contribute to general game design, as well as cooperate with all other facets of game production (programming, environment / world art and animation) • Place and trigger entities (such as enemies, movers, and objects) to create fun, absorbing gameplay • Master internal tools for modeling environments and integrating game play • Rough out world geometry, camera paths, and lighting using 3D world - building tools • Assist with the scripting of gameplay entities and events • Creatively resolve gameplay and production issues • Meet production schedules and deadlines • Collaborate with Design team to define and refine gameplay mechanics • Multitask effectively, prioritize competing demands, and follow through on details

It's been half a century since Carolee Schneemann began the series of daring, erotic, transgressive works that played off her own image as a beauty, the role of the female nude in art history, and the scrappy objects her friends and colleagues were making to push at the boundaries of art and life.

Made possible under Creative Commons Zero (CC0), this initiative represents yet another techno - utopic step toward the re-materialization of art objects (and «objects» feels like the operative term, given that so many of the CC0 - friendly works consist of pottery, textiles, costumes, and other functional objects often individually unattributed and classified as decorative arts) as virtual assets, freely shared and distributed.

Martha Buskirk argues, in The Contingent Object of Contemporary Art (2005), that «the possibility that a work's physical manifestation might be of limited duration, or that it might come and go as needed, has also helped facilitate the multitude of highly particular materials now commonly found in the context of the work of art.&raqArt (2005), that «the possibility that a work's physical manifestation might be of limited duration, or that it might come and go as needed, has also helped facilitate the multitude of highly particular materials now commonly found in the context of the work of art.&raqart.»

He often bridges absurdity and sincerity, resulting in humorous, tongue - in - cheek works that question how certain things — objects, events, thoughts, or concepts — come to be honored as art objects.

Tom Dash's mixed media works at Borghi's Bridgehampton site reflect what are probably the more familiar trappings of Pop Art, as embodied by Andy Warhol, James Rosenquist — and, more recently, Richard Prince, for whom Dash worked — in their use of appropriated imagery and their celebration of everyday objects.

Running counter to this first mainstream are the works of Duchamp, John Cage, and Picasso: expressing beauty transformed, ugliness, startling juxtaposition of images, primitive power, the subconscious of Freud, art as idea, art as found object, art as part of everyday life, non-art transmuted into art, and often an emphasis on social and political issues.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Within the exhibition these personal objects are recast within the public realm, as they provide the material for a work of art.

With a single work of art as the focal point, these conversations allow community perspectives to inform the way the museum interprets, displays, and teaches with objects in its collection.

Marquez's Mop series transforms materials, such as cleaning supplies, associated with working - class professions and generic tasks into highbrow art objects, implying the duality of process, class relations, and gender.

Acting as both maker of objects and facilitator of situations, Chong's work sits at the intersection of multiple genres: visual art, performance, writing, installation and science fiction.

Toward the end of his career, Still's art started to become even more abstract — objects lost their shape entirely, as seen in this 1976 work titled «PH - 1023.»

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

On view are two works: Ru - ao - objeto (Road - as - Object) is a work from 1974, a proposal to the viewer to experience a street in Recife, Brazil as the art work; along with this is a newly commissioned mail work, mailed as an open ended series of postcards, sent in 2017 from the artist in Recife to the gallery in Los Angeles.

The redesigned galleries will include both the collection's familiar works as well as objects on loan from other institutions, such as historical Native American art, folk art, furniture and art from other regions and time periods.

Emerging in the early 1970s, Austrian artist Franz West (1947 - 2012) created objects that serve to redefine art as a social experience, calling attention to how viewers interact with works of art and with each other.

The vast temporal spaces covered by works such as pre-Columbian ceramics and a 2004 sculpture of plastic bottles and other found objects, serve to remind us that indeed, all art has, at one point in history, been contemporary.

Other works on view such as box dioramas, multi-media works on paper, and carved objects in large and miniature scale illustrate the range of Beck's interests, from popular culture to classical art and architecture.

The same investigation of hybridization can be found in the combinations of house hold objects such as the sculpture Husqvarna / Art Déco N ° 1 (2012): in this work, the two objects, that are incredibly different one from another and belong to different decades fluctuate one on top of the other without ever touching each other evoking what Lavier calls the «failure of the ready made».

«This body of work explores the idea of art as a natural and evanescent object, meant to represent a memory or reflect a specific moment in time.

With Shingles (2011), for example, Carl Andre's floor - based metal works meet their working - class counterpart, as copper plates are exchanged for patterns of overlapping asphalt roofing tiles; Siding (2011), meanwhile, replaces Donald Judd's shiny metal cubes with the work's namesake — and very plebeian — exterior vinyl wallcovering found on many a tract house; and by simply lifting a marble countertop off the bathroom sink and onto the wall, Counter (2012) proves that even the slightest of gestures, such as a change of orientation and context, can render foreign something familiar — the everyday as convincing art object.

'' News / Prints: Printmaking and the Newspaper» (at IPCNY, New York, closed October 19) included historical editorial cartoons, Meiji - era Japanese newspapers, collages using newsprint as a found object and other works of contemporary art in its exploration of newspapers as both primary and secondary sources for art.

When he crafts a frame as part of the work, it neither seals the art object in its own world nor projects art into the space of the gallery.

This work can be interpreted in the simplest, most direct manner — as a stereotyped image of China's food culture and painting traditions, but at the same time, its multiple references to various Chinese social and historical backgrounds make interpretation much more difficult: the use of objects to express morality in Chinese landscaping, satirical poetry mocking ostentatious refinement, and the imitation of handwritten menus to capture a scene of civil life... Viewers unfamiliar with the specific context can easily find themselves lost in the smokescreen of mysterious Oriental poetic calligraphy and bonsai art.

He has also used sculpture to question «things the mind already knows», as he has put it, casting torches, lightbulbs, ale cans and objects from his studio in bronze, wittily reformulating everyday objects as precious works of art.

His focus on the work of art as an object in its own right paved the way for Minimalism, while his appropriation of familiar everyday imagery was a major influence on Pop Aart as an object in its own right paved the way for Minimalism, while his appropriation of familiar everyday imagery was a major influence on Pop ArtArt.

With his iconic paintings serving as a trademark of American contemporary art, Wayne Thiebaud is a Pop art painter best known for his colorful works depicting commonplace objects like pies, lipsticks, paint cans, ice cream cones, pastries and hot dogs, although he has painted many landscapes and figures in his time as well.

Fontana employs the mechanics of light and space with virtuoso skill to redefine the work of art as a radically dynamic object.

Each story is bound up with objects and visual forms that Fernández develops as motifs in the larger body of work which she is presenting at 18th Street Arts Center.

Attuned to the poetics of space, from the street to the rarefied galleries that keep its noise at bay, and to the orchestration of everyday objects and materials in his work and the encounters we have with it, David Hammons always sees life as preceding art.

As Robert Smithson stated «A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world».

The artist first encountered these unadorned objects as found or readymade works of art at his local Walgreens pharmacy, where he noted: «Half of the store seems dedicated to catalysing chronic bodily decay, and the other half seems dedicated to the fallout.»

Odyssey: Jack Whitten Sculpture, 1963 - 2017 presents examples of works that inspired Whitten with carved figures from Cote d'Ivoire, Democratic Republic of Congo, Gabon, Guinea, Mali, Nigeria, and Sierra Leone drawn from the BMA's outstanding collection of African art; as well as objects from Cyprus, Crete, and the Peloponnese from the collection of the Walters Art Museum in Baltimoart; as well as objects from Cyprus, Crete, and the Peloponnese from the collection of the Walters Art Museum in BaltimoArt Museum in Baltimore.

She began her professional relationship with objects while working as an art conservator in North Adams, MA and Guanajuato, MX and continues to bring them wherever she goes.

Pratt Institute's Master of Fine Arts (M.F.A.) program will present «Fleeting Objects,» an exhibition of works of photography, painting, sculpture, and video by 20 second - year M.F.A. students as part of the «College Art Association (CAA) New York Area M.F.A. Exhibition» at Hunter College.

Weiner works with language and not with what one may think of as art objects.

As Yoshida did, Parker does also — avidly collecting objects and images that are considered outside the boundaries of traditional art and incorporating them into the work.

For her first solo show at State of Concept, entitled Video Art Manual, Cytter will present a selection of video works from the past decade as well as objects and books.

Willie Cole is best known for assembling and transforming ordinary domestic and used objects such as irons, ironing boards, high - heeled shoes, hair dryers, bicycle parts, wooden matches, lawn jockeys, and other discarded appliances and hardware, into imaginative and powerful works of art and installations.

In her monumental sculpture, Flack has worked to change the representation of women in art, presenting them as strong, intelligent, purposeful individuals rather than «mere sex objects gazing up at a general on a horse,» according to a release from the WCA.

Often associated in the 70's with kinetic and concrete art, his work has also a strong affinity with Dada, Kurt Schwitters and Marcel Duchamp, working with found objects, tables, chairs, crates, tools, jugs, suitcases, lampshades, wine glasses (filled with wine, red as it happens) and electric light, which through the conductors of fluorescents and bulbs is a ready - made in itself.

For Clement Greenberg, the grid obliged one to perceive the work of art as an object, and objects have weight.