Sentences with phrase «american kinetic art»

Based in New York, he lived from 2007 - 2012 in New Orleans, founding and directing the first two editions of Prospect Biennial and was Visual Arts Director at CAC from 2007 - 2010, organized the XIII Bienal de Cuenca in Ecuador in 2016, and is Guest Curator of Kinesthesia: Latin American Kinetic Art 1954 - 1969, which part of the Pacific Standard Time initiative funded by the Getty Foundation, and opens at Palm Springs Art Museum in September.

Brett contributed as a critic and as curator to the development of European and Latin - American kinetic art during the 1960s.

LUIS TOMASELLO (b. 1915 La Plata, Argentina — d. 2014 Paris, France) Tomasello, a leading representative of Latin American Kinetic art, worked extensively in Paris from the late 1950s onwards exhibiting with Galerie Denise René, alongside Victor Vasarely and Jesús Rafael Soto.

Tomasello, a leading representative of Latin American Kinetic art, worked extensively in Paris from the late 1950s onwards exhibiting with Galerie Denise René, alongside Victor Vasarely and Jesús Rafael Soto.

Not exact matches

Of the six features on this set, all but Playtime make their respective American Blu - ray debuts and two appear on disc for the first time in the U.S.. From his debut feature Jour de Fête (1949) to the birth of both M. Hulot and the distinctive Tati directorial approach in his brilliant and loving Monsieur Hulot's Holiday (1953) through the sublime Playtime (1967) to his post-script feature Parade (1974), this set presents the development of an artist who took comedy seriously and sculpted his films like works of kinetic art driven by eccentric engines of personality.

George Rickey, an American then in Berlin, and Jean Tinguely drove kinetic art.

Run by its owner Paul Keeler and enthusiastically supported by the critic Guy Brett and the artist David Medalla, they championed Kinetic art, as well as European and Latin American Concretism.

Cory Arcangel (b. 1978), Research in Motion (Kinetic Sculpture # 4), 2011 (installation view, Whitney Museum of American Art, New York).

Schoultz takes cues from graffiti, folk art, medieval manuscripts and American currency to create his kinetic style.

(23.7 cm) diameter Courtesy the artist and bitforms gallery, New York Amor Muñoz Mexican, born 1979 Rhythmic Manufacture, 2015/2017 Watercolor on paper, metronome, table, coverall, clock, and HD video with sound Performance at San Francisco Museum of Modern Art, July 12 — 15, 2017 Dimensions variable Video production: 32K Productions Courtesy the artist Camille Norment American, born 1970 Lull, 2016 Dynamic sound installation with pendulum microphone Dimensions variable Courtesy the Camille Norment Studio O Grivo (Nelson Soares and Marcos Moreira Marcos) Active since 1990, Belo Horizonte, Brazil Cantilena, 2017 Kinetic sound installation (wood, bamboo, MDF, copper pipes, brass rods and sheets, steel rods, violin and guitar strings, nylon wires, iron sheets, galvanized steel sheets, brass paper, electrical wires, and electric motors) Overall dimensions variable San Francisco Museum of Modern Art, Accessions Committee Fund purchase Susan Philipsz Scottish, born 1965 Night and Fog (Clarinet), 2016 Twelve - channel sound installation, 47 min.

There were many key artists in Latin America working in Op art, and creating Kinetic works at the same time as the European and North American artists.

Selected references: Arnason, H.H., History of Modern Art: Painting, Sculpture, Architecture, 1968 Barr, Alfred, Painting and Sculpture in the Museum of Modern Art, 1929 - 1967, 1977 Barrett, Cyril, Op Art, 1970 Barrett, Cyril, An Introduction to Optical Art, 1971 Houston, Joe, Optic Nerve, Perceptual Art of the 1960s, 2007 Kulterman, Udo, The New Painting, 1969 Lampe, Angela, Robert Delaunay, Rythmes Sans Fin, Centre Pompidou exhibition catalog, 2014 Pellegrini, Aldo, New Tendencies in Art, 1966 Popper, Frank, Origins and Development of Kinetic Art, 1968 Rickey, George, Constructivism: Origins and Evolution, 1967/1995 Rosenthal, Erwin, Contemporary Art in the Light of History, 1971/2013 Tiampo, Ming, Gutai: Decentering Modernism, 2011 Weller, Allen S., The Joys and Sorrows of Recent American Art, 1968

«Kinetic: Conversations in Contemporary Art,» American University, Washington D.C., November 6, 2012 «Featured Artists Lecture Series: Theaster Gates,» Anderson Ranch Arts Center, Snowmass Village, CO, August 13, 2012 «Our Literal Speed,» presented by the Jackson Pollock Bar, Princeton University, Princeton, NJ, April 19, 2012 «SAM Talks: Theaster Gates and The Listening Room,» Seattle Art Museum, Seattle, WA, March 24, 2012 «A Story About Space: Public Lecture with Theaster Gates,» Southern Methodist University, Dallas, TX, March 23, 2012 «My Labor is My Protest / Artist Agency in the Re-Creation of Space,» Maryland Institute College of Arts, Baltimore, MD, February 8, 2012

That specificity — indeed, many specificities — play out in the Blanton's first dedicated Latin American galleries, which feature focused presentations of Mexican modernism between the 1920s and 1940s, geometric abstraction and kinetic art, 1960s «Other Figuration» in Argentina, conceptual practice, and politically engaged art.

In the post-war era, interest in and connections between the UK and Latin American art shifted away from surrealism and muralism towards abstract geometric, kinetic and op art movements and then towards forms of conceptualism.

At the Hayward Gallery in 1989 was Ades's show (on which Brett was a key collaborator) Art in Latin America: The Modern Era, 1820 - 1980, while in 1990 Brett curated the smaller but also influential Transcontinental: Nine Latin American Artists at the Ikon Gallery in Birmingham, following it in 1999 with a solo exhibition of the work of Victor Grippo, also at the Ikon, and with Force Fields: Phases of the Kinetic in 2000 at the Hayward Gallery, London, the exhibition which most clearly continued the aesthetic concerns first raised through Signals.

• Postmodernist Sculpture (1970s onwards) Important contributors to postmodernist plastic art include: the Surrealist Salvador Dali (1904 - 89), noted for his «Melted Ice Cream Van» (1970, Private Collection); the French sculptor Cesar (1921 - 98), best known for his «compressions»; the Swiss kinetic artist Jean Tinguely (1925 - 1991); the Nouveau Realiste Arman (1928 - 2005) known for his «accumulations»; the minimalists Donald Judd (1928 - 94), Sol LeWitt (1928 - 2007) and Richard Serra (b. 1939); the monumentalists Anish Kapoor (b. 1954) and Antony Gormley (b. 1950); the American Bruce Naumann (b. 1941), best known for his neon sculptures.

As a result, many new types and forms of sculpture were pioneered by American artists, including monumental stonework (Mount Rushmore), Kinetic art (mobiles), assemblage, minimalist structures, photorealist statues, pop sculptures, environmental earthworks, and multi-media sculpture.

The Phillips» collection began as a museum of modern art, exemplifying Paris - based European art movements such as French Realism (c. 1850 onwards) Impressionism (c.1873 - 83), Post-Impressionism (c. 1880 onwards), Fauvism, Intimism, Expressionism, Primitivism, Symbolism, and Cubism, before taking on 20th century styles such as Precisionism, American Realism, Ashcan School, Abstract Expressionism, Colour Field painting, Kinetic art, and geometric abstract art.

• Alexander Calder (1898 - 1976) American pioneer of kinetic art; inventor of sculpture «mobiles» made from wire and pieces of wood.

Over the last fifty years, many Latin American artists began to move away from traditional modes of art production, exploring forms such as kinetic, optical, and conceptual art.

Other modern sculptors like Jean Arp (1886 - 1966) as well as Henry Moore (1898 - 1986) and Barbara Hepworth (1903 - 75)- leaders of modern British sculpture - were experimenting with new forms of biomorphic / organic abstraction, while the American Alexander Calder (1898 - 1976) was pioneering mobile sculpture and kinetic art, and David Smith (1906 - 65) was developing abstract metal sculpture.