Sentences with phrase «dadaists andtaoists»

REFERRING TO THE GROUP OF «Yippies» (protesting the embalming of Surrealism) outside the Museum of Modern Art the night the show opened, Salvador Dali was quoted by Newsweek (April 8, 1968) as saying, «These are the Dadaists of today.»

Nevertheless, the venerable tradition of art as social provocation — as in the 1920s with Duchamp and the Dadaists and later online in the 1990s — refuses to die.

The gallery also has a traveling exhibition titled «Schwitters Miró Arp,» that brings together works by renowned European Dadaists Kurt Schwitters, Joan Miró and Hans Arp.

Dadaists rejected most, if not all, bourgeois values of visual art, in favour of a heady mixture of anarchism and hypermodern innovation.

In 1936, on the verge of arrest, he fled Germany for Switzerland where he received his second MD and befriended many of the Dadaists.

He became intoxicated by the Surrealists and assorted Dadaists which influenced his unique blend of American Pop mixed in with a healthy dose of European Surrealism; all weighted by the color and pattern legacy of Matisse.

So now — in a sort of reversal of fortune gleefully predicted half a century ago by none other than Salvador Dalí — Sigmar Polke, though championed as an inheritor of the avant - garde strategies of the Dadaists and the Abstract Expressionists, turns out to be the new pompier.

In 1918, the German artist Kurt Schwitters (1887 - 1948) applied to join the Berlin Dadaists but was rebuffed for his unpolitical attitude.

Los Angeles... Beginning 16 October, Hauser Wirth & Schimmel will present a comprehensive exhibition of the renowned Dadaists Kurt Schwitters (1887 — 1948) and Hans Arp (1886 — 1966), in the context of works by the Spanish painter, graphic artist and sculptor Joan Miró (1893 — 1983).

Gordon's photosculptures exist somewhere between two and three dimensions, visually interrupted by his disjunctive cuts which recall the photomontages of the Dadaists.

Outraged by the carnage and immorality of the War, Dadaists were anti-war, anti-art, and determined to ridicule what they considered to be the meaninglessness of the modern world.

Putting this criticism into context, it is important to note that, after 400 years of Renaissance - dominated aesthetics - which decreed that painters and sculptors produce works of art from exclusively noble (and thus highbrow) subjects - the idea of creating art from trivial, commonplace objects was irresistibly appealing to Dadaists and their heirs.

True, Dada was essentially anti-art, but the years during which it flourished 1916 - 1922 were marked by great polarization and political strife, and as soon as things calmed down most Dadaists became Surrealists.

The recent creative history of Winnipeg brings up a number of successful artists influenced by Dadaists, graffiti art, and outsider artists like Henry Darger.

Third, again like Dadaists, he believed that the idea behind a work of art was more important than the work itself - a belief he held in common with the growing Conceptual art movement.

Working in the lineage of the Dadaists and the Nouveau Réalisme movement, Bradford has honed a refined technique of décollage, a process defined by cutting, tearing away or otherwise removing, pieces of an original image.

The Neo-Dada (or New - Dada) is not taking the name of the Dada movement because of a lack of creativity: the link with the Dadaists is very strong.

This free - associational technique was adopted by Dadaists and Surrealists, among others, to create writings or art with involuntary actions and processes not under the rigors and discipline of the conscious mind.

However, in a world of technology and digital media, Putra's use of the collage technique has a nostalgic feel to it, as opposed to the ironic repurposing that the Dadaists employed.

RI:... decide now overnight we'll do this, as maybe the Dadaists did in Zurich or something.

Like latter day Dadaists and Taoists, Theo Michael and Sofia Borges seek to disengage art from language so that a viewer can experience a mental state of «no mind.»

His breakthrough came in 1924 when, under the influence of Dadaists and Surrealist writers André Breton and Louis Aragon, he freed his work from the restraints of realistic representation.

She became a model for numerous artists, and soon became a regular among the New York Dadaists, chiefly Marcel Duchamp, Man Ray and Francis Picabia.

Since the 20th - century futurists and dadaists, several generations of artists have used the comic book as a gesture of social critique and this also applies to the present moment.

For his first extensive presentation in Istanbul, Dirimart opens both galleries, in Dolapdere and Nişantaşı, to the films and photographs of Berlin - based artist Julian Rosefeldt, who has been celebrated worldwide for his film installation Manifesto (2015), a reenactment of historical avant - garde manifestos by artist groups such as the Dadaists, the Situationists, and Futurists, featuring Australian actress Cate Blanchett in thirteen different roles.

Though art historians often cite Futurists and Dadaists among the first performance art practitioners, performance art first came into being as a discrete movement in the late 1950s and early 1960s, with early practitioners including artist - shaman Joseph Beuys, Fluxus artist Yoko Ono and «Happenings» creator Alan Kaprow.

After breaking from the Dadaists in Zurich and Paris, Picabia moved to the French Riviera in 1925 and began to expand the territory of figuration; it was there he developed his fascination with the layered compositions that define his Transparency series.

They're more in keeping with Duchamp and Kurt Schwitters» brand of subversion and the radical dismantling of traditional art - making by the Dadaists than the superficial antics of Pop.

He might equally well have asked how the anti-art subversive pranks of the Dadaists and Surrealists were transformed to become fertile material for the imaginations of true painters like Arshile Gorky.

«Through Leger, Matter met and began working for Swiss graphic designer and photographer Herbert Matter, who, as an artist for Condé Nast publications, was largely responsible for translating the photomontage innovations of the dadaists into the visual vocabulary of the cultural mainstream.

The Dada attitude of «anything goes» was certainly embraced by the artists who, like the original Dadaists, used unorthodox materials in protest against the traditions of «high art».

Like latter day Dadaists andTaoists, Theo Michael and Sofia Borges seek to disengage art from language so that a viewer can experience a mental state...

Nauman's work is conceptual and has been compared with Dadaists, particularly Marcel Duchamp and Man Ray.

Like latter day Dadaists andTaoists, Theo Michael and Sofia Borges seek to disengage art from language so that a viewer can experience a mental state of «no mind.»

Many artists of the twentieth century — the Cubists, Dadaists, Surrealists in the early decades and the Pop, Conceptual, and Narrative artists in our own time — have incorporated text in works of visual art.

The New Dada movement takes some principles from the Dadaists, but readapting them to their new era.

As Beuys borrowed ideas from artists of other European nationalities (French Surrealists, Swiss Dadaists), today's young Catalan artists are borrowing ideas from him.

This experience probably reinforced his insight into the studies of light and the use of exhibition space and exposed him to the Impressionists, Colorists, Modernists, and Dadaists whose influences are made explicit in his work through his practice of leaving pieces untitled yet dedicated to artists including Mondrian, Brancusi, Jasper Johns, and Duchamp.

The European avant - garde artists after the First World War, the Dadaists, Early Abstract artists, the Surrealists and the artists during the postwar years, continued with the challenging spirit and the progressive ideas of the Cubism.

Kippenberger's anarchic approach followed the example of Marcel Duchamp and the Dadaists, and also recalled Joseph Beuys and his utopian self - mythology.

Games were also intrinsic to the work of war - addled Surrealists and Dadaists, the inventors of the exquisite corpse and automatic drawing, in their quest to upend the bourgeois pretensions of art and free the artistic imagination.

And so, from the dadaists he adopted the idea of teamwork (both as a member of Gruppo T and in his subsequent work) and a refusal to accept art as a sublimated activity that separates the perceiving subject from his or her own body or surroundings.

Aside from his artistic practice, as an art entrepreneur and gallerist, Copley had close friendships with influential Surrealists and Dadaists such as Marcel Duchamp, Man Ray, and Yves Tanguy.

The use of found objects, of course, has been a constant in art since the Dadaists, while serialism dates to the 1960s, with arrangements of images in grids cropping up in the work of artists from Andy Warhol to the Bechers and Stephen Shore.

He is influenced by the notion of «tensegrity», proposed by Kenneth Snelson, the paintings and prints of Terry Winters, methods of unifying conscious and subconscious thought such as through Surrealist Automatism, and the approach of Dadaists to question the meaning of symbols.

The dadaists partied at Cabaret Voltaire, Andy Warhol and friends had The Factory, and Ross Bleckner was not only a permanent fixture of The Mudd Club — he owned the building.

But then came Futurists, Dadaists, Constructivists, Cubists, Minimalists and finally Abstract artists, and figurative painting was pushed aside, giving way to all things non-realistic.

Emerging from the dominant Abstract Expressionism movement and inspired by the Dadaists, Jasper Johns revolutionized the concept and materiality of artwork by employing experimental techniques and different points of view.

This attitude - reflected not only in Saret's wire pieces, but also in Lynda Benglis» poured latex works, Robert Morris» scattered and draped felt and Richard Serra's splashed lead - may be seen as an extension of the chance procedures of the Dadaists and, more recently, the contemporary composer John...

Like the Dadaists before him, Wojnarowicz projected a world on a path to self - destruction, and incorporated items of his daily life into his work as part of an individualized critical response to the conditions he found himself.