Sentences with phrase «american aesthetic practices»

These works evoke the actual use of hide in a range of Native American aesthetic practices (such as clothing, drums, and shelters) and the history of the shaped canvas in modern and contemporary art.

Not exact matches

A quintessential aspect of aesthetic modernism in the nineteenth century is that it produced not only a body of artworks and a profusion of — isms, but also a body of institutions and a template of practices that, unlike the art itself, were accepted almost without protest by the European and American art public.

During the sixty - one years of the existence of the American Abstract Artists group, abstract art has evolved from a foray into largely unexplored imaginary territory into a mainstream modal of aesthetic practice.

This approach dovetails with what Kobena Mercer (2016) named «cut - and - mix aesthetics,» or call and response in visual art by African American and Black British artists, as paradigmatic of post-1980s black diaspora aesthetic practice.

Catherine Opie fuses the observational tradition of American photography with a European poststructuralist approach to identity politics in a practice that seeks to determine the aesthetic and cultural languages that articulate community.

The works on view explore visual and cultural framing practices to re-contextualize European, African, and American aesthetic and cultural movements from Minimalism and Dada to Black Lives Matter.

Krista Thompson, Weinberg College Board of Visitors Professor in the Department of Art History at Northwestern University, is the author of An Eye for the Tropics (2006), Developing Blackness (2008), Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (2015), articles in American Art, Art Bulletin, Art Journal, Representations, and Small Axe and co-editor En Mas»: Carnival and Performance Art of the Caribbean (in production).