Sentences with phrase «1970s alternative art»

Organized by P.S. 1 Contemporary Art Center founder, Alanna Heiss, FORTY features work by over 40 artists who were key participants in the 1970s alternative art spaces movement and the early years of P.S. 1 Contemporary Art Center.

Not exact matches

My favorite movie was Akira Katsuhiro Otomo 1988, is a Manga and Anime film, but his artwork revealed an interesting teaching on revolutions and population with increasing marginalization that persists today in days, compared to Neo Tokyo how was NY 1970s and 1980s, when I bought the Manga Akira, I saw the movie an alternative, but goes beyond the imagination, and you realize how good it is to see the movie and then read the Manga Akira.The book, the art itself, demonstrates the espanção visual in your mind when the film passes the principles of letters in motion, it really is a union of a wonderful universe, which makes you wonder how the author thought.My movie was Akira, and admit reading the Manga / Book Akira in Ereader is wonderful!

Whether it's the work of Keith Sonnier and Joe Zucker (both of whom had shows in 2010 at Mary Boone Gallery in New York) or the prototypes of «Rowing Needles» (1970) by Buckminster Fuller, on view at Meulensteen in a recent show that paired Fuller's streamlined pieces with the lumpy «Floor Cushions» of the 33 - year - old artist - designer Eli Levenstein, or the new crop of alternative spaces (like the intimate and racy Honey Space for site - specific art, on 11th Avenue), a»70s esthetic rules.

Founded in 1970 as» 112 Greene Street», White Columns was established as an independent platform for artists and was a pioneering force in the alternative art space movement of the 1970s and 191970s and 1980s.

Feminism proposed two alternative sets of criteria between 1970 and 1990: in the 1970s, the first — in whose development Schapiro participated — challenged the formalist canon for its exclusion of so much political narrative, and even formal content and materiality, and proposed alternatives that looked to craft, costume, folk art, surrealism, the real, lived experience, and the body; the second, developed by deconstructionist feminism during the 1980s, challenged the first for its essentialism and looked back to aspects of modernism other than those promoted by Greenberg, namely the fragmentary, the filmic, the appropriational, and the disruptive aesthetics of Brechtian distantiat1970s, the first — in whose development Schapiro participated — challenged the formalist canon for its exclusion of so much political narrative, and even formal content and materiality, and proposed alternatives that looked to craft, costume, folk art, surrealism, the real, lived experience, and the body; the second, developed by deconstructionist feminism during the 1980s, challenged the first for its essentialism and looked back to aspects of modernism other than those promoted by Greenberg, namely the fragmentary, the filmic, the appropriational, and the disruptive aesthetics of Brechtian distantiation.

As the writer Sarah Lehrer - Graiwer has recently pointed out, Lozano was not alone in pursuing this impulse, and she cites such examples as Stephen Kaltenbach, Elaine Sturtevant, and Christine Kozlov, who in the 1970s individually removed themselves from the realm of contemporary art in pursuit of alternatives.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Alternative Figures in American Art: 1960 to the Present» in Providence and New York; «Victor Moscoso: Psychedelic Drawings, 1967 — 1982» in New York; «Return of the Repressed: Destroy All Monsters 1973 — 1977 ″ in Los Angeles; and «Karl Wirsum: Drawings 1967 — 1970 ″ in New York.

The group was formed as an alternative art platform and gave opportunities to young artists by presenting work in visual art, poetry, film, music, and fashion in ten self - organized, thematic exhibitions and happenings between 1965 - 1970.

Bushwick has been compared to the 1980s East Village6 (validated by the New Museum's East Village USA, 2004, organized by Dan Cameron).7 Many of the exhibition spaces in Bushwick were in Exit Art's historical survey Alternative Histories (2010).8 Art spaces appeared in the East Village in the 1970s, long before the cultural explosion of the 1980s.

Incidentally, the New Museum was one of those nonprofit alternative art spaces born in the 1970s which Colab distanced itself from.

During the 1960s and 1970s, a generation of artists emerged with a self - described critical task: to engage with and reveal the power structures and ideological imperatives implicit in any given cultural situation in the belief that doing so could create viable alternatives for living and art - making alike.

Gloria: Another Look at Feminist Art of the 1970s awarded first place, Best Show in an Alternative Space or Public Space by the International Art Critics Association.

In Chicago in the early 1970s, we had our own third and best - known generation of alternative spaces (each city can claim its own artist - run history, probably with a fair share of boosterism thrown in), such as ARC, Artemisia (both were feminist galleries formed from West - East Bag, a nationwide network of women artists), and N.A.M.E., with the much - heralded Randolph Street Gallery opening in 1979.7 This is not to mention still - running artist - driven efforts such as the Hyde Park Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 1940.

About White Columns: Founded in 1970 (and known until 1979 as «112 Greene Street») White Columns is the oldest of the first generation of alternative art spaces in New York.

What: Hippie Modernism: The Struggle for Utopia Where: The Walker Art Center, Minneapolis, MN When: October 24, 2015 to February 28, 2016 Why: If the title isn't enough to intrigue you, the exhibition will chronicle the art, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival filArt Center, Minneapolis, MN When: October 24, 2015 to February 28, 2016 Why: If the title isn't enough to intrigue you, the exhibition will chronicle the art, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival filart, architecture, and design of the counterculture of the 1960s and early 1970s, including everything from experimental furniture, alternative living structures, retro magazines and books, and archival films.

MOCA was the first «alternative art space» in the United States, and it presented many landmark shows, (including the first «Sound Sculpture» show in 1970), and also provided a social situation for artists.

Olds» research focuses on artists» groups in the 1970s and the networks they forged as alternatives to mainstream institutions such as the art gallery, mass circulation journal, and network television.

But first and foremost, between a place and candy shows the impact of the 1970s Pattern & Decoration (P&D) movement, a group of disparate artists dedicated to providing a viable alternative to the slick Minimalist art pervasive at the time.