Sentences with phrase «classicism at»

Essays by the curators are included: Addressing the return to Classicism at the end of the 16th, 19th, and 20th centuries, Arkady Ippolitov discusses the obsession that defines both the work of Mapplethorpe and the Mannerists.

Not exact matches

Here, he tries his hand at something akin to classicism, and ends up mounting a compelling drama.

In fact, it's a beauty, at every level a model of the American classicism he has worshipped all along but never personally managed to get outside of quotation marks — till now.

Such identification is entirely in order, for movie classicism lies at the heart of the film's extraordinary purity and power.

Richard Riley, curator of the British Pavilion at the 56th Venice Biennale, discusses the «standout» talent of Sarah Lucas, and her show, I Scream Daddio, that focuses squarely on the body (both male and female), and serves up a blend of «classicism, irreverence and toughness».

With the exception of the few black shapes that made their appearance at the start and the end of her painting life, Martin's palette is airy and light — neither heavy nor dark — and it's no stretch to associate this with the classicism she espoused or with the ideas of perfection and joy and innocence, and so on, which held her rapt.

That opposition goes back at least to Florence and Venice, Classicism and Romanticism.

The classy Classicism of the titles attests to the solid literary education she received at Princeton, where she might have read, with the great Wallace Stevens scholar A. Walton Litz, who chaired the English department in her era, these wonderful lines from the Stevens poem «Descriptions Without Place»:

1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..

The ultimate expression of Renaissance classicism and a symbol of Florentine independence, its original location at the entrance to the Palazzo Vecchio in the Piazza della Signoria is occupied today by a plaster copy.

A slightly different form of classicism is evident in the city landscapes of Stephen McKenna which also hint at larger narrative themes.

The Existential Void (2012) takes a jab at the intellectual classicism of the art world, declaring itself a «META pot» and pointing out the art - culture faux pas «Picasso napkin syndrome.»

Camille Corot tried to escape the conventional and idealized form of landscape painting influenced by classicism to be more realist and sensible to atmospheric variations at the same time.

In a statement she wrote on the occasion of a 1942 exhibition at the Museum of Modern Art she laid out precisely what she meant by this term: «By Classicism I mean, not traditionalism of any sort, but a highly conscious concern with esthetic structure which is the antithesis of intuitive, romantic, or realistic approaches to painting.

An exhibition at Pallant House shows how classicism was a way of reinvigorating modernist experimentation