Sentences with phrase «american tableau»

The third in the Menil's Contemporary Conversations series spotlighting specific time periods or aspects of major living artists» work, this exhibit is the most tightly focused yet, presenting a single work, American Tableau, which Chamberlain created in 1984.

Upon closer examination, John Chamberlain's American Tableau sculputre shows the crushed sheet metal from old cars he used to create the piece.

He had his first retrospective at the Solomon R. Guggenheim Museum, New York, in 1971, followed by more than one hundred one - person exhibitions, including Dia Art Foundation (1983); «John Chamberlain: Sculpture, 1954 — 1985,» Museum of Contemporary Art, Los Angeles (1986); Staatlich Kunsthalle Baden - Baden (1991); «John Chamberlain: Sculpture,» Stedelijk Museum, Amsterdam (1996); «John Chamberlain: Foam Sculptures (1966 — 79) and Photographs (1989 - 2004),» Chinati Foundation, Marfa, Texas (2005 — 06); and «John Chamberlain: American Tableau,» Menil Collection, Houston (2009).

«Drawing together various art forms (video, sculpture, painting, and live performance) across the lines of race, multiple generations and interdisciplinary canons, Blues for Smoke places the idioms of blues, and other distinctly African - American traditions, at the center of the American tableau of creativity.»

Not exact matches

American Girls (76 Tableau.

With painterliness, Mendes and cinematographer Conrad Hall present this moody tableau in what is a continuation of the picture's running homage to the images, themes, even favourite subjects of American painter Edward Hopper, such as an all - night diner in the middle of nowhere, an unevenly lit apartment, and silhouettes imprisoned in blocks of yellow light.

A filmmaker of tableau imagery packed with defining detail and quirky humor, he's the Joseph Cornell of American cinema, creating colorful cinematic boxes around stories of dysfunctional families, absent fathers, and characters lost in ambition and obsession and the need for affirmation and parental approval.

From Here to Eternity Year: 1953 Directed by: Fred Zinnemann Starring: Burt Lancaster, Montgomery Clift, Deborah Kerr, Frank Sinatra, Donna Reed, Ernest Borgnine Why it's essential: This movie has nestled into the American imagination as one of the great screen romances — that famous scene of Lancaster and Kerr kissing in the sand and surf on a Hawaiian beach is part of the great indelible Hollywood tableau — but most don't realize that this is a movie about soldiers stationed in Hawaii in the months leading up to Pearl Harbor.

Although more suitable for children, GKIDS's trio of French releases — A Cat in Paris (by Jean - Loup Felicioli and Alain Gagnol), Le Tableau (Jean - François Laguionie), and Tales of the Night (Michel Ocelot)-- display a level of collective sophistication and wit that's frankly absent from the vast majority of American animated features.

This makes the casting of African - Americans Smith and McBride sort of interesting, and it makes the dynamic between the robots and their evil Bill Gates - inspired manufacturer (Bruce Greenwood) sort of interesting, but it doesn't really do all that much to explain why the main robot character is pasty white with blue eyes — except that it makes for a more striking tableau when it and Smith shake hands in slow motion, of course.

The saddest sight in the American educational tableau is educators who have stopped learning, who are no longer finding out — in ways that excite young people, or challenge conventional wisdom.

San Francisco, CA, October 8, 2013 — SuBLime, the global yaoi manga (graphic novel) publishing initiative between VIZ Media and Japan's Animate, Ltd. (Animate), unites passion and art for its latest North American release — TABLEAU NUMÉRO 20.

«Nine Female Inmates of the Cincinnati Workhouse Participating in a Patriotic Tableau,» a painting John Wesley made in 1976 to commemorate the American Bicentennial, has been reimagined and adapted by Mr. Wesley, now 85, to conform to the 25 - by -75-foot format of the billboard.

Informed by the tradition of American Realism and painters such as Thomas Hart Benton, Reginald Marsh and Ben Shahn, Rothko's urban - inspired tableaus convey a sense of isolationism distinctive among his contemporaries.

As I wrote in the AJC, the exhibition documents a building anger that would erupt in 1967 both on the streets and in large - scale canvases such as «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableau.

Edward Kienholz's life - size tableau «Five Car Stud» (1969 — 72) depicts four automobiles and a pickup truck, arranged on a dirt floor in a dark room with their headlights illuminating a shocking scene: a group of white men exacting their gruesome «punishment» on an African American man.

In close dialogue with curator Francesco Stocchi, American artist Alex Da Corte has taken Le miroir vivant's provocation as a starting point to create an immersive tableau utilizing the Boijman's collection as raw material: nearly fifty paintings, sculptures, photographs and videos by artists such as Cady Noland, Marcel Broodthaers, Jim Shaw, Gilbert and George, Alexandra Bircken, Carel Visser, Domenico Gnoli, Barbara Hepworth, Duane Hanson, David Hockney, among others.

This exhibition serves as a continuation of the artist's 2015 solo exhibition at the Dallas Contemporary, in which Varejão looked to art history — both Native American as well as within the Western canon — for inspiration, producing a tableau that reinterprets the Eurocentric perspective of the New World.

From Kiesler to Edward Kienholz's realistically recreated tableau of American life to the literal alteration of the physical environment with the outdoor «installations» of Robert Smithson, Nancy Holt and Christo, these variations and experimentations with architectural space and environment opened up the field of what was considered to be the «studio» or gallery space.

The tableau depicts Dutch traders swindling the Native Americans out of the island of Manhattan for beads and whiskey.

Joe Fyfe, a New York painter and critic who briefly lived in Paris, organized «Le Tableau» as «a pointed counterbalance to the rejection of French painting by the American artistic and critical establishment.»

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

In this piece, he has tackled the most American of images in a clear homage to Jasper Johns, composing Old Glory with stars and stripes made out of vegetation photographed from high above — creating a tableau that forces the viewer to shift focus, seeing either the image represented (the flag) or the material that produces it (plants), but never both.

His latest series features the inside of custom built trucks, which are placed in a new context as the artist digitally combines the ornate interiors of the trucks with luscious and exotic scenes that depict Latin - American socio - economic tableaus.

About the Jurors and Selected Artists Juror Tina Barney's photographs on view, The Children's Party, 1986, and American Flag, 1988, exemplify her career that began in the mid-1970s when, shooting in color with a large format view camera, she photographed tableaus portraying the daily life of her family and friends.

Alexander Calder, Tableau Noir, 1970, Painted steel, Smithsonian American Art Museum, Courtesy of Helly Nahmad Gallery, L. 2013.1

Making the tableau especially evocative are Roman - style letters, chiseled in marble, that proclaimed this to be the «Whitney Museum of American Art.»

Upon this tableau, the Global Climate Science Communications Team (GCSCT) developed an action plan to inform the American public that science does not support the precipitous actions Kyoto would dictate.