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Image
Published: 01 November 2016
Figure 2 Still from Norwood (1984) © Patrick Keiller. Courtesy of the artist Figure 2. Still from Norwood (1984) © Patrick Keiller. Courtesy of the artist More
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Published: 01 November 2016
Figure 3 Still from The End (1986) © Patrick Keiller. Courtesy of the artist Figure 3. Still from The End (1986) © Patrick Keiller. Courtesy of the artist More
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Published: 01 November 2013
Figure 2   A painted wall mural, artist unknown, on the exterior of a local wall becomes the visible sign of a recent unbroken history of democratically elected communism in Kerala since 1957. Politics can still be seen manifested in the faded hammer-and-sickle murals of Fort Kochi, now covered More
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Published: 01 November 2013
Figure 4   Dragonfish , a painted wall mural by Indian artist Anpu Varkey, becomes a marker of India's absorption of contemporary, non-Indian art forms. It has a considered placement on the sea-facing wall of the eighteenth-century dockside store Pepper House, making the ancient fish motif More
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Published: 01 November 2013
Figure 5   This hand-painted statement, artist unknown, on the exterior of a local wall in Fort Kochi was surrounded by several commissioned street art projects and acted as a potent device when you consider what the Kochi-Muziris Biennale's legacy might be for local artists. During the festival More
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Published: 01 November 2013
Figure 6   LOOKHERE , charcoal wall portraits of local Keralans by Australian artist Daniel Connell on the exterior of a local tea shop. During the Kochi-Muziris Biennale, the artwork was defaced by burnt coconut husks, an attack that was accorded some significance as a particularly localized More
Image
Published: 01 November 2013
Figure 8   The Ship of Tarshish , by the Indian artist Prasad Raghavan at Aspinwall House. The title alludes to a Hebrew biblical reference to a place or city between which there was trade by sea. The backdrop to the sculpture is the country's newest international container terminal in More
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Published: 01 November 2013
Figure 11   Black Gold , installation of pottery shards by Indian artist Vivan Sundaram at Aspinwall House. The terra-cotta fragments used within this installation are recovered from the archaeological site at Pattanam, the site of the flooded ancient seaport of Muziris. The landscape produced More
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Published: 01 November 2013
Figure 13   Stopover , an installation of spice grindstones by Indian artist Sheela Gowda and Christoph Storz, at the dockside of Aspinwall House. The traditional grindstones were used domestically as part of the traditional preparation of spices but are now redundant, as housewives have moved More
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Published: 01 July 2018
Figure 1 Between Time , 2017. Acrylic on canvas, 84 × 84 in. Courtesy of the artist Figure 1. Between Time, 2017. Acrylic on canvas, 84 × 84 in. Courtesy of the artist More
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Published: 01 July 2018
Figure 3 Bam Bam , 2013. Acrylic on canvas, 72 × 92 in. Courtesy of the artist Figure 3. Bam Bam, 2013. Acrylic on canvas, 72 × 92 in. Courtesy of the artist More
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Published: 01 November 2018
Figure 3 Big Peepland , 2016. Oil on linen, 70×44 in. Courtesy of the artist Figure 3. Big Peepland, 2016. Oil on linen, 70×44 in. Courtesy of the artist More
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Published: 01 November 2018
Figure 5 Dreamland 14 , 2012. Acrylic on felt, 40×55 in. Courtesy of the artist Figure 5. Dreamland 14, 2012. Acrylic on felt, 40×55 in. Courtesy of the artist More
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Published: 01 March 2015
Figure 2 Joy Garnett, Shade , 2014. Oil on canvas, 11 × 14 in. Courtesy the artist Figure 2. Joy Garnett, Shade, 2014. Oil on canvas, 11 × 14 in. Courtesy the artist More
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Published: 01 March 2015
Figure 3 Joy Garnett, Beacon , 2014. Oil on canvas, 11 × 14 in. Courtesy the artist Figure 3. Joy Garnett, Beacon, 2014. Oil on canvas, 11 × 14 in. Courtesy the artist More
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Published: 01 March 2015
Figure 4 Joy Garnett, Arbor , 2014. Oil on canvas, 11 × 14 in. Courtesy the artist Figure 4. Joy Garnett, Arbor, 2014. Oil on canvas, 11 × 14 in. Courtesy the artist More
Journal Article
Cultural Politics (1 July 2009) 5 (2): 149–178.
Published: 01 July 2009
...Vikki Bell; Mario di Paolantonio The article considers the role that contemporary visual art and activist-artists have played in transitional Argentina, beginning from the premise that they might be understood as involved in the staging of a wide-ranging shift implied by the term transition. We...
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Published: 01 November 2007
Gustav Klutsis and Solomon Telingater, “Artists’ Brigade,” 1931. Letterpress lettering and photomontages on covers. 28.2 × 21.2 cm. State Publishing House for Art, Moscow. Gustav Klutsis and Solomon Telingater, “Artists’ Brigade,” 1931. Letterpress lettering and photomontages on covers. 28.2 More
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Published: 01 July 2014
Figure 2 Freee Art Collective, Protest Is Beautiful . Photo courtesy of the artists Figure 2. Freee Art Collective, Protest Is Beautiful. Photo courtesy of the artists More
Journal Article
Cultural Politics (1 July 2014) 10 (2): 226–238.
Published: 01 July 2014
... selected artists, practices, and products, and nascent spectacular global capitalism (including some of spectacle’s “technical means of production,” such as perspectival representations). Drawing on elements of the well-known critique of spectacle developed by Guy Debord, the essay posits a tradition, or...