Images tagged with #publicart on instagram

The self-taught Singaporean artist @yipyewchong in his WIP mural at Lodhi Art District aims to reflect daily lives in Lodhi and connect with people on the streets. #AsianPaints #StartIndia #StartIndiaInitiative #StartDelhi #Lodhi #LodhiArtDistrict #StreetArt #PublicArt #ArtworkAtLodhi #LodhiColony #ComeAndVisit #Repost @startindia ・・・ Lodhi Art Festival // WIP // @yipyewchong #LodhiArtDistrict A self-taught artist with a passion for street art, Singaporean artist Yip Yew Chong worked his way from being a Financial Director of a UK based company to leaving his job and dedicating his time entirely to his love for art. He landed in Delhi a few days ago and he’s already halfway done on his work! Come see his beautiful artwork at Lohi Art District now. And be ready for F(r)iction Phase II opening at Kona the 22nd Feb. 📸 @pranavgohill Thanks to @visit_singapore Festival supported by @asianpaints. #artforall #startindia #startdelhi #startdelhi2019 #asianpaints #lodhiartdistrict #lodhiartfestival2019

6:50am 02/19/2019 0 21

Official press conference unveiling the dates of the International Public Art Festival 2019 #IPAF19

Curated by @amingulgee, @zarmeene and @sara_pagganwala .The event will be held on 1st March (5 PM - 9 PM) and 2nd / 3rd March (12 PM - 7PM). KPT opening its doors for general public! International Public Art Festival 2019 is OPEN FOR ALL!!! #IPAF19 #international #publicart #festival #iamkarachi

I Am Karachi ( @iamkhiofficial )

Official press conference unveiling the dates of the International Public Art Festival 2019 #IPAF19 Curated by @amingulgee, @zarmeene and @sara_pagganwala .The event will be held on 1st March (5 PM - 9 PM) and 2nd / 3rd March (12 PM - 7PM). KPT opening its doors for general public! International Public Art Festival 2019 is OPEN FOR ALL!!! #IPAF19 #international #publicart #festival #iamkarachi

Kpt Head Office

6:30am 02/19/2019 1 19

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ZHKKH-ART / ЖКХ-АРТ⠀
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This book is about Russian sociocultural phenomenon named ZHKKH-ART (housing and utilities art). I was wondering, is ZHKKH-ART actually an art movement or it's just a sociocultural phenomenon that only sociologists, urban anthropologists, culturologists need to investigate? In this visual research i found the answer on this question.
PERSONAL PROJECT (PERSONAL TEXT AND ART DIRECTION)
SIZE: 148×210, PAGES: 112
⠀ Эта книга про ЖКХ-арт — русский социокультурный феномен. Можно ли считать ЖКХ-арт искусством или это все же только социокультурное явление, которое необходимо исследовать лишь социологам, городским антропологам, культурологам? В рамках моего визуального исследования я нашла ответ на этот вопрос.
АВТОРСКИЙ ПРОЕКТ (АВТОРСКИЙ ТЕКСТ И РЕДАКТУРА)
РАЗМЕР: 148×210, СТРАНИЦ: 112
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#makesomeeditorialdesign
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#graphicdesign #graphicdesigner #publicationdesign #bookstagram #editorialdesign #magazinedesign #bookdesign #stunningbookdesigns #stunningbook #visualarts #visualgraphics #itsnicethat #swissdesign #graphicdesigndaily #brutalistdesign #graphicdesig n#editorialdesign #typography #gridsystem #indesign #inspiration #printisnotdead #streetart #publicart #жкх #таджикротко #стенаматизм #rothkowall #tadjikrothko @wallswalls

Polina Sokolova ( @makesomedesign )

⠀ ⠀ ZHKKH-ART / ЖКХ-АРТ⠀ ⠀ This book is about Russian sociocultural phenomenon named ZHKKH-ART (housing and utilities art). I was wondering, is ZHKKH-ART actually an art movement or it's just a sociocultural phenomenon that only sociologists, urban anthropologists, culturologists need to investigate? In this visual research i found the answer on this question. PERSONAL PROJECT (PERSONAL TEXT AND ART DIRECTION) SIZE: 148×210, PAGES: 112 ⠀ Эта книга про ЖКХ-арт — русский социокультурный феномен. Можно ли считать ЖКХ-арт искусством или это все же только социокультурное явление, которое необходимо исследовать лишь социологам, городским антропологам, культурологам? В рамках моего визуального исследования я нашла ответ на этот вопрос. АВТОРСКИЙ ПРОЕКТ (АВТОРСКИЙ ТЕКСТ И РЕДАКТУРА) РАЗМЕР: 148×210, СТРАНИЦ: 112 — #makesomeeditorialdesign — #graphicdesign #graphicdesigner #publicationdesign #bookstagram #editorialdesign #magazinedesign #bookdesign #stunningbookdesigns #stunningbook #visualarts #visualgraphics #itsnicethat #swissdesign #graphicdesigndaily #brutalistdesign #graphicdesig n#editorialdesign #typography #gridsystem #indesign #inspiration #printisnotdead #streetart #publicart #жкх #таджикротко #стенаматизм #rothkowall #tadjikrothko @wallswalls

5:44am 02/19/2019 0 28

오늘도 모이자 모으자 프로젝트는 진행중💡💡 .
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•참여대상: 관심있는누구나
•참여방법: 전기코드, USB에 꽂아 사용 가능한 제품. •참여혜택: 기념전시도록에 이름기재, 전시연계 프로그램 우선 초대. •접수기간 및 장소: 2019.1.2-3.11 수원전시미술관 수원시 장안구 송정로 19（만석공원 옆) 혹은 수원시립아이파크미술관 수원시 팔달구 정조로 833.
•관련문의: 031-228-4104(4103) 전시팀.
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#전시스타그램 #최정화작가 #수원컨벤션센터 #광교호수공원 #최정화 #모이자모으자 #예술스타그램 #맞팔 #선팔하면맞팔 #맞팔환영 #선팔맞팔 #art #publicart #exhibition #instagoodl #choijeonghwa #좋아요반사 #instapic #f #f4f #fff #아트스페이스광교 #수원미술전시관 #잡화 #최정화잡화

모이자 모으자 👐 최정화 공공미술프로젝트 ( @shiningcollector )

오늘도 모이자 모으자 프로젝트는 진행중💡💡 . . . . . •참여대상: 관심있는누구나 •참여방법: 전기코드, USB에 꽂아 사용 가능한 제품. •참여혜택: 기념전시도록에 이름기재, 전시연계 프로그램 우선 초대. •접수기간 및 장소: 2019.1.2-3.11 수원전시미술관 수원시 장안구 송정로 19（만석공원 옆) 혹은 수원시립아이파크미술관 수원시 팔달구 정조로 833. •관련문의: 031-228-4104(4103) 전시팀. . . #전시스타그램 #최정화작가 #수원컨벤션센터 #광교호수공원 #최정화 #모이자모으자 #예술스타그램 #맞팔 #선팔하면맞팔 #맞팔환영 #선팔맞팔 #art #publicart #exhibition #instagoodl #choijeonghwa #좋아요반사 #instapic #f #f4f #fff #아트스페이스광교 #수원미술전시관 #잡화 #최정화잡화

수원시미술전시관

5:29am 02/19/2019 0 16

This is my second post and the subject is the cosmos. I will be posting all this week displaying art with different scientific subject matter but always created by chemistry. The images as they appear on this post are Nucleosynthesis 2, Nucleosynthesis 1, Nucleosynthesis 3, Spiral Galaxy, Heavenly, and Firmament.
In July of 2001, I abandoned artist materials and began creating art employing chemistry as my medium. The dynamic process that forms this art involves metal, chemicals, and sometimes heat. Many hours of research and experimentation has allowed me to manipulate chemicals in order to create these images. This isn’t just art about science but art created by science. Check out my work at www.safren.com, #chemistry, #astronomy, #artgallery, #artmueum, #artcollector, #sciartmagcenter, #williamsburgartandhistoricalcenter, #scienceart, #scientists, #scientists, #publicart, #the_safrens, #chemist

SciArt Magazine & Center ( @sciartmagcenter )

This is my second post and the subject is the cosmos. I will be posting all this week displaying art with different scientific subject matter but always created by chemistry. The images as they appear on this post are Nucleosynthesis 2, Nucleosynthesis 1, Nucleosynthesis 3, Spiral Galaxy, Heavenly, and Firmament. In July of 2001, I abandoned artist materials and began creating art employing chemistry as my medium. The dynamic process that forms this art involves metal, chemicals, and sometimes heat. Many hours of research and experimentation has allowed me to manipulate chemicals in order to create these images. This isn’t just art about science but art created by science. Check out my work at www.safren.com, #chemistry , #astronomy , #artgallery , #artmueum , #artcollector , #sciartmagcenter , #williamsburgartandhistoricalcenter , #scienceart , #scientists , #scientists , #publicart , #the_safrens , #chemist

4:50am 02/19/2019 0 16

Empirical Eyes (site-specific audiovisual installation)
I created this creepy piece in response to the curated theme FEAR, for the NOCTURNAL - Art After Dark winter Festival.
It was an exploration into fear of the foreign, mainly addressing the tensions embedded in the multicultural demographic that makes up the City of Greater Dandenong.
Of particular interest was the audience response to negotiating the spatial tensions activated within the site (by way of light, sound and visual interplay). This transformation of space intended to blur the boundaries of private/public, secret/exposure, internal/external, personal /universal territories. The overall effect was to create intimacy in open space. Thematically, the rabbit‐caught‐in headlights concept plays on fear‐laden, preconceived notions regarding the blurring of boundaries between foreign and familiar. These concerns are brought to light when entities normally far removed from one another are trapped in a moment of forced intimacy. Primarily this creates a situation where survival desperately depends upon trusting the ‘Other’. Instinctively, the need arises for reassurance that no harm will come of such interactivity, in turn making spectators examine their own potential reasons for mistrust.
Viewer responses may oscillate between empathy and apathy for all or any one of the beings engaged in this strange showdown.
Until it’s openly challenged, the fear of the unknown loops eternal – never put to rest, constantly triggering personal memories and responses.
This artistically staged scenario, acknowledges that all forms of life are engaged in an overwhelming struggle for their sense of place, and when negotiating a shared environment spatial tensions emerge and long held beliefs resurface. The act of audience participation in bearing witness to this choreographed ritual of power, foregrounds issues around consequences of claiming space ‐ including when, why, how and where to resist or allow boundaries to be upheld or crossed. For the purpose of this I enlisted the disembodied eyes of Joseph Beuys, in direct reference to his compelling performance piece ‘How to Explain Pictures to a Dead Hare’( 1965)

Jade Burstall ( @jade_burstall )

Empirical Eyes (site-specific audiovisual installation) I created this creepy piece in response to the curated theme FEAR, for the NOCTURNAL - Art After Dark winter Festival. It was an exploration into fear of the foreign, mainly addressing the tensions embedded in the multicultural demographic that makes up the City of Greater Dandenong. Of particular interest was the audience response to negotiating the spatial tensions activated within the site (by way of light, sound and visual interplay). This transformation of space intended to blur the boundaries of private/public, secret/exposure, internal/external, personal /universal territories. The overall effect was to create intimacy in open space. Thematically, the rabbit‐caught‐in headlights concept plays on fear‐laden, preconceived notions regarding the blurring of boundaries between foreign and familiar. These concerns are brought to light when entities normally far removed from one another are trapped in a moment of forced intimacy. Primarily this creates a situation where survival desperately depends upon trusting the ‘Other’. Instinctively, the need arises for reassurance that no harm will come of such interactivity, in turn making spectators examine their own potential reasons for mistrust. Viewer responses may oscillate between empathy and apathy for all or any one of the beings engaged in this strange showdown. Until it’s openly challenged, the fear of the unknown loops eternal – never put to rest, constantly triggering personal memories and responses. This artistically staged scenario, acknowledges that all forms of life are engaged in an overwhelming struggle for their sense of place, and when negotiating a shared environment spatial tensions emerge and long held beliefs resurface. The act of audience participation in bearing witness to this choreographed ritual of power, foregrounds issues around consequences of claiming space ‐ including when, why, how and where to resist or allow boundaries to be upheld or crossed. For the purpose of this I enlisted the disembodied eyes of Joseph Beuys, in direct reference to his compelling performance piece ‘How to Explain Pictures to a Dead Hare’( 1965)

10:14am 10/18/2018 8 46

Series of digital prints exhibited at Platform Contemporary. I’m exploring the role of artificiality (including artificially creating the natural) in society and how it’s shaping our identity (both universally and individually). My work is concerned with how the duality of naturalism / artificiality informs the contradictory nature of people’s lives. Whether it's psychological, physical, virtual or emotional embodiments of environment, I’m interested in how people shape their environment, and in turn how it shapes them.
As an example of how on a larger scale, artificial man-man constructs become embedded into society as a whole, influencing the whole of humankind throughout history, I’m looking at the Gold Standard, which is a monetary system in which the standard economic unit of account is a fixed weight of gold.
This idea of us all as individuals, living within a fixed external value system, laid out in terms of gold, is the premise for my visualizations for the STANDARD MAN series.
Depictions of a life-sized silhouette of a man, having been literally shaped by a haze of gold paint sprayed around his form like a stencil, creating a kind of aura. The gold having brought the body into being, without it, the shape of man would not exist, and instead would remain just a patch of grass. So begins a symbiotic relationship built on duality, opposition and essentially co-dependence.
Existing literally because of the boundary line between nature and artifice, Standard Man is a kind of preserved human poised between one moment and the next, the meaning of which shifts with time, place and differences among individuals.

Jade Burstall ( @jade_burstall )

Series of digital prints exhibited at Platform Contemporary. I’m exploring the role of artificiality (including artificially creating the natural) in society and how it’s shaping our identity (both universally and individually). My work is concerned with how the duality of naturalism / artificiality informs the contradictory nature of people’s lives. Whether it's psychological, physical, virtual or emotional embodiments of environment, I’m interested in how people shape their environment, and in turn how it shapes them. As an example of how on a larger scale, artificial man-man constructs become embedded into society as a whole, influencing the whole of humankind throughout history, I’m looking at the Gold Standard, which is a monetary system in which the standard economic unit of account is a fixed weight of gold. This idea of us all as individuals, living within a fixed external value system, laid out in terms of gold, is the premise for my visualizations for the STANDARD MAN series. Depictions of a life-sized silhouette of a man, having been literally shaped by a haze of gold paint sprayed around his form like a stencil, creating a kind of aura. The gold having brought the body into being, without it, the shape of man would not exist, and instead would remain just a patch of grass. So begins a symbiotic relationship built on duality, opposition and essentially co-dependence. Existing literally because of the boundary line between nature and artifice, Standard Man is a kind of preserved human poised between one moment and the next, the meaning of which shifts with time, place and differences among individuals.

9:39am 08/20/2018 5 44

Stories about #publicart

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