Sentences with phrase «american commercial culture»
From 1959 to 1961 he lived in New York on a Harkness Fellowship, producing paintings that combined the formal qualities of the work of American abstract painters, with references to American commercial culture, with its lush seductive colours, exploitation of magnification and soft - focus effects and, generally, its stimulation of desire and fantasy.
http://www.artlyst.com/ Not exact matches
He specializes in the evolving «culture of American capitalism,» the institutions, values, and practices that both structured and limited commercial activity.
An advertisement film (variously called a television commercial, commercial or ad in American English, and known in British English as a TV advert or The principle of Yin and Yang is a fundamental concept in Chinese philosophy and culture in general dating from the third century BCE or even earlier...
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As for the commercial disappointment, you can cushion the blow by acknowledging that the film makes no effort to appeal to Americans, instead delving into hooligan culture and a fandom that means nothing to them.
The four two - minute documentary - style films, created by BBC StoryWorks, BBC Advertising's commercial content production arm, challenge the perceptions of traditional Britain, offering a modern take on the stunning landscapes, fashion, culture and history, and will air on BBC's commercial, international news channel, BBC World News, to an American audience between October 2017 to March 2018.
This pairing of the pump jacks and the Times Square location merges a classic symbol of American oil production and wealth with the center of New York City commercial culture.
In a practice that combines traditional drawing, commercial photography, and new media, Horowitz turns American culture on its head to explore the idiosyncrasies of entertainment, class, commerce, failure, success, and personal meaning.
In a practice that combines traditional drawing, commercial photography, and new media, Marc Horowitz turns American culture on its head to explore the idiosyncrasies of entertainment, class, commerce, failure, success, and personal meaning.
[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery (mundane objects culled from American commercial products and advertising design), almost «prefiguring» the pop art movement.
American conceptual artist Barbara Kruger is best known for her layered photographs, featuring provocative statements on issues like commercial culture, feminism, and identity politics.
One of the most celebrated American conceptual artists, Barbara Kruger is best known for layering photographs with provocative statements on issues surrounding commercial culture, feminism, and identity politics.
The famous pop artist Andy Warhol, known for his silkscreens and paintings that celebrated what was considered a quintessential representation of the American culture in the 1960's was also at one point of his career a commercial illustrator.
American culture and media started becoming far more commercial just as 24 - hour cable news and the information age were coming into existence.
Her Yankee India: American Commercial and Cultural Encounters with India in the Age of Sail, 1784 — 1860 (Mapin Publications and the Peabody Essex Museum 2001), mined the Peabody Essex Museum's collection and archive to illuminate the beginnings of American interest in the art and culture of the subcontinent.
In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.
The campaigns inserted lesbian images into recognizably commercial contexts, revealing how lesbians are and are not depicted in American popular culture.
He is interested in forms of urban commercial culture and has written on New York City's culture and politics in the first half of the 19th century and part of The Cambridge History of the American Theatre.
Willis Thomas responds: «My work is an artist's critique of how corporate America has imaged African - Americans... this (sponsorship) speaks to the relationship between the art world and the commercial world as sponsorship and culture have become interrelated.»
Over time, the scope was broadened to include works by renowned American Illustrators and pop culture commercial artists, including Tim Burton, Maurice Sendak, Charles Schulz and Theodor Geisel (Dr. Seuss).
His training at the famous Basel School of Design led him to become an innovator in graphic design, and his commercial logos and packaging have become ubiquitous in American culture.
Indeed, Oldenburg's work is more than the Pop Art fascination with merging of high art with the commercial; his large - scale pieces in particular are a critique of capitalism and American consumer culture.
Works by such Pop artists as the Americans Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana and the Britons David Hockney and Peter Blake, among others, were characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography — taken from television, comic books, movie magazines, and all forms of advertising — was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed.
Centerfolds, cartoon creatures, commercial facades and strange street characters populate my work, reflecting Mexican culture's condition of colonization and its customization of American icons; all with the purpose of conveying a personal baroque narrative that resembles an abstract urban, chaotic sediment reminiscent of Tijuana, Mexico, the city I come from.»
A New Yorker since the 1960s, the artist has led a double life since arriving in the U.S.. By day he has been an innovator in conceptual graphic design, with many of his commercial logos and packaging becoming iconic in American culture.
Pictures such as Reisterstown Mall (1965) celebrate what Hartigan called the «vulgar energy» of American culture in their use of a flashy, commercial imagery of rednecks and white goods.
«By the mid - and late - 1970s,» wrote the curator Richard Marshall in his essay for the exhibition «American Art Since 1970» at the Whitney Museum, «painting had moved further away from the confines of the Minimalist approach — even from a negative reaction to it — and the artists [Jennifer Bartlett, Vija Celmins, Lois Lane, Neil Jenney, Bill Jensen and Elizabeth Murray] inaugurated new ways to treat subject matter and meaning -LSB-...] there emerged a move against an insular, elitist attitude towards art and what it is, should be, or must be -LSB-...] artists began to look at more diverse visual repertory: commercial art, advertising, fashion, television and movies, popular culture, the decorative arts, rugs, religion, ancient artifacts, and Middle Eastern Cultures.»