Sentences with phrase «comments on art history»

Daily Art Fixx comments on art history and promotes unknown artists.

Not exact matches

1920s Delage duo — Dennis Harrison tells us about a 1928 D.M. Weymann saloon and a sporting 1926 DISS / Electro - plating of car parts — In a further article in our series on technical subjects John Teague explains nickel plating and chromium plating / Art and the automobile, Part one — Michael Worthington - Williams on the history of automobile art commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the UArt and the automobile, Part one — Michael Worthington - Williams on the history of automobile art commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the Uart commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the USA.

Posted in News, tagged bio historical fiction, book cover reveal, Books We Love, Canadian writers, coming book releases, Countess Danner, Cover Art, danish historical fiction, danish history, danish royalty, Danner House, Debbie A. McClure, Denmark, historical fiction novel, King Frederik VII, Louise Rasmussen, Michelle Lee, romantic fiction on June 13, 2016 Leave a Comment»

Explaining his appearance on the blog, ahead of flight back to the US, Child said: «I read blogs like these and comment occasionally because, yes, I really do care about these things, am endlessly fascinated by new developments in anything, and — again — feel privileged to be watching the self - publishing revolution, which I truly feel to be the biggest single radical act in arts history.

Nochlin had the grace not to comment on H. W. Janson's History of Art, the all - male standard art history textbook of the time, or on the odd fact that while male art students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes wasHistory of Art, the all - male standard art history textbook of the time, or on the odd fact that while male art students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes was a cArt, the all - male standard art history textbook of the time, or on the odd fact that while male art students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes was a cart history textbook of the time, or on the odd fact that while male art students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes washistory textbook of the time, or on the odd fact that while male art students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes was a cart students traditionally drew from nude models, the model for female students in Thomas Eakins's life - drawing classes was a cow.

Professor of Art History Anne Higonnet, who was instrumental in connecting Ojih Odutola with Orzeck earlier this year, commented, «Toyin has a unique, timely perspective on racial identity and we're excited to dive more deeply into her inspiration.

Amongst the younger, so - called Post-Conceptual artists, we also find works that can be experienced as comments on the abstract painting's position in recent art history.

From the genesis of Lisa's career, art has been a conduit for her to comment on culture, history, and her environment.

He uses painting, sculptural installations, collage, video, and photography to comment on the history of Black identity both in the United States and in Western art.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

On the occasion of his 2015 LACMA exhibition of drawings from the 1960s and 70s organized by Leslie Jones, Director Michael Govan commented «Ed Moses has been central to the history of art making in Los Angeles for more than half a century.»

With these multiple layers — contemporary black pop culture, historical African influences, and witty and knowing takes on art history — it's no wonder that Ofili was resistant to commenting on the furore.

In this «conversation» with the works, he is not commenting on the historical image itself, but rather questioning the direction of his own work and his position within art history.

Here Bangsted has given it new life and in so doing comments on the convergence of nature, art, science, war and history.

In the 1990s, performance artist Andrea Fraser popularized institutional critique as an art movement by commenting on the hierarchies, politics, male - dominated history, and commerce that goes on behind the scenes of museums.

: Art and Black Los Angeles, 1960 - 1980» explored a robust period in the city's history when a pioneering group of African American artists established an influential creative community and produced important works commenting on the state of culture, politics and identity.

She acknowledges they are depending upon viewer sophistication, because in the way paintings perceive nature and issues such as climate change, the art also comments on landscape painting's history and forces of culture and politics behind it.

Thomas» art comments on contemporary identity and the history of how images make meaning.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Continuing to combine Meso - American iconography, art historical references and pop culture imagery, Enrique Chagoya's new work explores the representation of history and boldly comments on the current global political climate.

Using found materials, El Anatsui draws on traditional African idioms and contemporary western art practices, to comment on West African culture, history, and society.

There are far more current, interesting, and radical ways to comment on the power that arts institutions wield in framing the reception of art and art history, if that somewhat hermetic concern happens to be one's thematic nucleus.

Trained as a weaver at Chelsea College of Art, she utilises the embedded histories of cloth, to comment on the compacted social histories that are encapsulated within material culture.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

Lawler also comments on the male dominance of art history; a black - and - white picture, taken at the Met, of a statue of Perseus with the head of Medusa is cropped exactly at the penis.

Posted in 2013 Carnegie International, Book, Design, History of Carnegie Museum of Art Comment on this post >>

Held at the start of the year, Himid's show at Modern Art Oxford was the first survey of her career and included works such as Swallow Hard: The Lancaster Dinner Service (2007), which uses traditional porcelain painted with scenes inspired by the satirical English cartoonist, James Gillray, to comment on Britain's role in the history of slavery.

Commenting on Prouvost's installation, judges said: «Building on personal memory, it weaves together fact, fiction, art history and modern technology.

The Canadian artist has long portrayed himself as various fictional archetypes, using elaborate photographic self - portraits to comment on pop culture and the influence of art history.