Sentences with phrase «american critic»

Nearly a century later, an American critic called the play «a sustained inquiry into the nature and status of words; and the characters in it embody, define and implicitly criticize certain concepts of words» (Ralph Berry [1969]-RRB-.

The term was coined by the American critic Harold Rosenberg in 1952, [4] in his essay «The American Action Painters», [5] and signaled a major shift in the aesthetic perspective of New York School painters and critics.

In his landmark 1984 text Postmodernism, or, the Cultural Logic of Late Capitalism, American critic Frederic Jameson neatly summarized the spirit of the age.

Although her subjects vary from French painter Henri Matisse to American critic Dave Hickey, Fendrich views her essays collectively as «a polemic to defend painting against hostile forces.

The name «action - painting» was first coined in 1952 by the American critic Harold Rosenberg (1906 - 78) in the December edition of Art News.

The celebrated American critic Clement Greenberg (1909 - 94)- who as it happens also wrote a classic monograph on Joan Miro - once said that all great art should strive for an exciting tension between visual appeal and interpretive possibility.

In the 1980s, American artists such as Sherrie Levine and Jeff Koons brought appropriation to a new level, influenced by the writings of German philosopher Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction, and American critic Rosalind Krauss in her 1985 book The Originality of the Avant - Garde and Other Modernist Myths.

He made his name as a photorealist, then as a pioneer of «New Expressionism», a movement which the great American critic Clement Greenberg described as «a tendency to make art, especially in painting, that's ugly.

When the American critic Harold Rosenberg introduces the idea and concept of Action Painting, he insists on the fact that such paintings must be perceived as traces of actions.

With help from a team of advisers, namely UK - based American artist Susan Hiller, Budapest artist Janos Sugar, and American critic - curator Ralph Rugoff, Grayson selected fifty - six exhibitors from twenty - two countries.

The American critic Clement Greenberg explained the difference a long time ago.

A term coined by the American critic Harold Rosenberg in 1952 to define a specific set of Abstract Expressionist artists who saw the canvas as an «arena in which to act.»

As the American critic Dan Cameron describes a significant aspect of Juan Uslé's work, «Behind the often startling playful textures and opacities is an artist on a deadly earnest mission to restore validity not simply to abstract painting, but to painting itself.

Post-Painterly Abstraction Term coined by the American critic Clement Greenberg for a group of Abstract artists working in the 1960s.

However, just as the newness of Cubism was accepted and then canonized by Barr and the Museum of Modern Art, so the revolutionary abstraction of Abstract Expressionism was quickly codified and accepted — and elevated above Picasso and the School of Paris — through the efforts of the American critic Clement Greenberg.

American critic Michael Fried, in the essay «Art and Objecthood» (1967), apotheosized «art» in contrast to «theatricality» — another version of Greenberg's elevation of formal art over literary art, more particularly of Cubism over Dadaism — arguing that «it is by virtue of their presentness and instantaneousness that modernist painting and sculpture defeat theater.»

Geoffrey Rush plays Italian artist Alberto Giacometti and Armie Hammer plays American critic James Lord in Stanley Tucci's new film about the creation of Giacometti's final masterpiece.

Dzubas soon met a group of writers who introduced him to the work of the Trotskyist New York intellectuals, amongst whom included then editor of the Partisan Review and famed American critic Clement Greenberg.

More crucially, she was championed by American critic Rosalind Krauss, who saw her photographs — perhaps somewhat predictably — as an attempt to resist the male gaze (Krauss has written that Woodman exhibits a tendency to «camouflage» herself, attempting to «hide» even as she stands in front of the camera).

Thus, the famous American critic Clement Greenberg (1909 - 94) once stated that all great art should aim to create tension between visual appeal and interpretive possibility.

Art critic, painter, novelist and poet John Berger, as well as American critic Lesley Fiedler and renowned essayist Clement Greenberg, were lovers of Nuala during this time.

The most substantial contributors here were the British artist and theorist Roy Ascott with his essay «Behaviourist Art and the Cybernetic Vision» in the journal Cybernetica (1966 — 67), and the American critic and theorist Jack Burnham.

Being in close contact with the new movement of Minimal and Conceptual Art, with artists like Sol LeWitt, Carl Andre, Joseph Kosuth, Mel Bochner, the American critic Lucy R. Lippard, the art dealer and curator Seth Siegelaub and gallerists like Leo Castelli and Konrad Fischer, she felt understood and encouraged to exercise «her lifetime duty».

Study for Art and Culture by John Latham, dating from the late Sixties, is a photographic record of the artist's disgust with the book of the same title by Clement Greenberg, the influential American critic.

Recent Work and Other Myths combines appropriated pages from The Originality of the Avant - Garde and Other Modernist Myths — a collection of 15 essays by the influential American critic Rosalind E. Krauss — and screendumps from the artist's Instagram account, where he has posted photos of discarded items he has stumbled across in the street.

Clement Greenberg the American critic had kindly offered to show Paul Huxley and me around some of the New York...

Clement Greenberg the American critic had kindly offered to show Paul Huxley and me around some of the New York galleries.

It also includes a hitherto unpublished essay by the American critic Robert Pincus - Witten, who met the protagonists of this story when he worked for dealer Leo Castelli.

They were written in 1970 by the African - American critic Linda La Rue about the vaunted cross-cultural embrace of the second - wave feminist movement.

The campaigns against cultural appropriation, like that against Exhibit B, empower not those suffer from racism or inequality but, in the acid words of the African - American critic Adolph Reed, «the guild of Racial Spokespersonship», those who take it on themselves to be the guardians of the acceptable.

Following Bell's influential ideas, it was American critic Clement Greenberg who proved to be the strongest advocate of formalism and modern art inspired with it.

This connection came at first through a young Canadian painter in New York, William Ronald, and subsequently through a close and lasting friendship with the influential American critic Clement Greenberg.

In the 1990s Drapell was widely exhibited in the United States and Europe, where he was recognized by American critic Kenworth Moffett and Parisian gallery owner Gérald Piltzer as a leading figure among the «new new painters,» a grouping of abstract artists in Canada and the northeastern United States whose work is characterized by high - keyed, glossy colour and built - up surfaces.

The University of Saskatchewan's summer artists» workshops at Emma Lake (see EMMA LAKE ARTISTS» WORKSHOP) influenced him during the period 1957 - 68, notably those led by American critic Clement GREENBERG (1962) and painter Kenneth Noland (1963).

The sculptor Anthony Caro taught there and, inspired by meetings in New York with American critic Clement Greenberg, he preached that art should be about nothing but itself.

Alex tells me about his dad's confrontation with arguably the most powerful man in 1950s art, the American critic Clement Greenberg.

The term was coined by the American critic Harold Rosenberg in 1952 [34] and signaled a major shift in the aesthetic perspective of New York School painters and critics.

By the 1960s modernism had become a dominant idea of art, and a particularly narrow theory of modernist painting had been formulated by the highly influential American critic Clement Greenberg.

The curator of «Pictures» was the American critic Douglas Crimp.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Even the best line in Leckey's lecture / performance - the remark that James Cameron's 1997 movie Titanic is the story of something going from pure horizontality, to perfect verticality to invisibility - is borrowed from American critic Jerry Saltz.

What this exhibition also draws our attention to, and what Als, an African - American critic and writer, wants to draw our attention to, is that Neel was one of the very few white artists painting people of colour.

The landmark American critic surveys everything from the 1968 Democratic convention to the literature of New York City.

MaryAnn, for at least the last year you have been the first North American critic I have consulted when it comes to film reviews.

Amid all the applause for 12 Years a Slave there's been only one seriously dissenting voice, that of the Black American critic Armond White.

He is the only American critic to review virtually every film in major release.

While director Liliana Cavani was accused of exploiting the Holocaust — American critic Roger Ebert called it «despicable» — her supporters applauded her bold exploration of the relationship between authority and submission, humiliation and desire.

After seeing Vincent Gallo's rather ponderous road movie The Brown Bunny in 2003, esteemed American critic Roger Ebert pithily described it as «the worst film ever shown in the history of Cannes».

Meanwhile, more weight is given to some very famous Hollywood heads cooing their admiration for Altman but as a leading American critic pointed out, where are the regular recurring members of Altman's ensemble of character actors.

For some conservative American critics, the word is sinister — connoting a draconian legal code that they contend threatens to subvert American law.