Sentences with phrase «high modernism in»

Koetje includes many references to high modernism in her paintings, from uninflected geometric forms to collage - like compositions that evoke the colorful and hard - edged arrangements of Stuart Davis» jazz - infused paintings.

He engages ink or chlorine and manual resist - dyeing techniques to produce abstract patterns that feel like faint memories of Western High Modernism in that they allow for doubt, failure and chance.

Not exact matches

For example, referring to the «institutional field of cultural production» that «rapidly and radically transformed... the rigid dichotomy between «high» and «low» «(for academics like Professor Rainey, dichotomies are always «rigid» and high art always needs scare quotes), he tells us that «Modernism's ambiguous achievement... was to probe the interstices dividing that variegated field and to forge within it a strange and unprecedented space for cultural production, one that did indeed entail a certain retreat from the domain of public culture, but one that also continued to overlap and intersect with the public realm in a variety of contradictory ways.»

Today Roman Catholic philosophy and Protestant Modernism affirm rationality as a high value in human life.

The earliest streams of Romantic modernism found this source in a high view of Nature, with the person as part of the natural order.

Back then, abstract painting investigations were still rooted in aesthetic considerations coming on the heels of high modernism.

Pierluigi has lectured in museums and institutions of higher learning on postwar American architecture, California Modernism and architectural photography.

In the 1940s, however, she tried to work her way through high Modernism, and it meant playing around with European painting.

Nostalgia for the Concourse came to mind while taking in Christian Maychack's latest exhibit at Jeff Bailey, being that so much of his work, to my eye, playfully sends up or gently skewers high modernism.

And it sets a precedent for the red square in Piet Mondrian's Composition with Yellow, Blue and Red (1937 - 42), which sits at the heart of this exhibition, upholding high modernism and geometric abstraction at their most sophisticated.

She sticks to a bastion of high Modernism, abstract painting, in bright waves of color.

Meanwhile, in the high temple of modernism ---- New York's Museum of Modern Art ---- curator and past New American Paintings juror Laura Hoptman has just opened The Forever Now: Contemporary Painting in an Atemporal World.

Rebecca Warren's (b. 1965, UK) striding high - heeled legs fuse high Modernism with the lowly comic book in an expression of pure eros.

I left at 5 because I wanted to get home to write about the exhibition of Josef Albers Paintings on Paper, an exhibition at the Morgan Library closing this weekend — in that decision were multiple ironies, that I was leaving a fashionable art event inimical to painting in order to write about an artist who in fact I had always seen as didactic in a way that could be seen as part of the repressive politics of high modernism which contributed to my move towards feminism as a young artist.

Both used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high Modernism.

Shedding light on a rarely examined topic in the history of modernism, the major exhibition «Cross Country: The Power of Place in American Art, 1915 - 1950» (Feb. 12 through May 7, 2017) at the High Museum of Art will uncover how experiences of rural life fundamentally changed the direction of American art.

Appropriately enough, Lawrence's mix of high and low has its roots in a tamer, all - too - earnest Modernism, a uniquely American art.

It's true a case could be made that in the final analysis what he actually did was to leech the ideological and philosophical high stakes out of modernism to make it more market friendly.

Meanwhile, in the high temple of modernism — New York's Museum of Modern Art — curator and past New American Paintings juror Laura Hoptman has just opened The Forever Now: Contemporary Painting in an Atemporal World.

[13] Jean - François Lyotard, in Frederic Jameson's analysis, does not hold that there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms.

Both used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism.

[40] Although to presuppose that modernism stands for «high art» only, and is in any way certain as to what constitutes «high» art is to profoundly and basically misunderstand modernism.

As an idea, formalism reached its peak in the period of high modernism, between the last decades of the 19th and first half of the 20th century.

One compact definition offered is that while post-modernism acts in rejection of modernism's grand narratives of artistic direction, and to eradicate the boundaries between high and low forms of art, to disrupt genre and its conventions with collision, collage and fragmentation.

1989 Black Art — Ancestral Legacy: The African Impulse in African — American Art, Dallas Museum of Art, TX; High Museum of Art, Atlanta, GA; Milwaukee Art Museum, Milwaukee, WI; Virginia Museum of Fine Arts, Richmond, VA The Blues Aesthetic: Black Culture and Modernism, Washington Project for the Arts, Washington, DC; California African American Museum, Los Angeles, CA; Duke University Museum of Art, Durham, NC; Blaffer Gallery, University of Houston, Houston, TX; The Studio Museum in Harlem, New York, NY Forerunners and Newcomers: Houston's Leading African American Artists, Art Gallery, University of Houston, Clearlake, TX Messages from the South, Sewall Art Gallery, Rice University, Houston, TX The Private Eye: Selected Works from Collections of the Friends of the Museum of Fine Arts Houston, Museum of Fine Arts, Houston, Houston, TX

[8] Jean - François Lyotard, in Fredric Jameson's analysis, does not hold there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms.

These artists used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism.

Dealing largely in the secondary market, Jonathan Boos specializes in American paintings, drawings, and sculpture of the 19th and 20th centuries with a particular focus on works of the highest quality from the Ashcan School, Modernism (including the Stieglitz Group), Realism, and the post-war period.

«Part of Richard's agenda is to poke fun at the lofty aspirations of modernism and modernist artworks, which often end up in private homes, where they exist amidst other high - end possessions.

Hilla Toony Navok's work explores themes of high Modernism and abstraction as they appear in consumer products, as a way of examining the ideological underpinnings of design and the assimilation of the history of Modernism in contemporary consumer culture.

In fact, the terms of French painting in the 20th century were so high as to lift even academic practitioners of modernism into a place of high critical regarIn fact, the terms of French painting in the 20th century were so high as to lift even academic practitioners of modernism into a place of high critical regarin the 20th century were so high as to lift even academic practitioners of modernism into a place of high critical regard.

Taken together, these many approaches to art represented a wholesale rejection of the tenets of modernism — e.g., its optical formalism, high seriousness, utopianism, social detachment, invocation of the subconscious, and elitism — and marked the beginning of a new era in art.

Of all the art - historical insurgencies against the high ideals of Modernism, then, few seem so radical or so far - reaching in their ambition to turn the tables as the Centre Georges Pompidou's summer 1996 exhibition «L'Informe: mode d'emploi» (The formless: instructions for use).

Donald is fascinated by the way in which this system of values in the world of decoy making and collecting (still vital today, in spite of the anachronism of duck hunting) echoes so directly that of the art world — while the art world (in spite of claims that we are beyond modernism with its distinctions between high and low culture) would have nothing of such objects.

The landmark tripartite display window of the gallery's nine - meter - high Corner Space was added to the building in 1913 by Hermann Muthesius, a famous early pioneer of German architectural modernism and founder of the Deutscher Werkbund.

Los Angeles - based artist Amy Bessone mines the cultural representation of female form in history, from Greco - Roman marble nudes and the odalisques of high modernism to contemporary thrift - store objects.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmHigh School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

This conversation between works that represent a historic high point in British Modernism and the concerns of artists working today is central to the way the Pier Collection has developed over the last 10 years.

«One way of understanding the relation of the terms «modern,» «modernity,» and «modernism» is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.

Adam Pendleton has been included in significant exhibitions in America and Europe including the Palais de Tokyo's La Triennale (2012), where his video installation BAND was presented following its premiere at The Kitchen, New York (2010); Ecstatic Alphabets / Heaps of Language, MoMA, New York (2012); Greater New York, MoMA PS1, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, ICA, London (2007); Resistance Is, The Whitney Museum of American Art, New York (2007); Frequency, Studio Museum of Harlem (2005 - 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

Other important exhibitions include Adventure of the Black Square: Abstract Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012); Greater New York, P.S. 1 Contemporary Art Center, Long Island City, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, Institute of Contemporary Art, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, Studio Museum of Harlem, New York (2005 - 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

Although Liberman studied art during a time of major developments in high modernism, his conservative art education focused primarily on earlier periods of art.

In comparison, the exhibition catalogue (MIT Press, 2004) focuses more on the theoretical than on the political implications of this transitional period between high modernism and postmodernism, when the United States overthrew the shackles of European dominance and became a world - class art power.

A resolute high Modernist, he was out of sympathy with many of the aesthetic waves that came after the great achievements of the New York School, notably Pop («a very great disaster»), Conceptual art («scrapbook art») and postmodernism («modernism with a sneer, a giggle, modernism without any animating faith in the nobility and pertinence of its cultural mandate»).

Pendleton has been included in significant exhibitions in America and Europe, including Love Story — The Anne & Wolfgang Titze Collection, Winter Palace and 21er Haus, Belvedere, Vienna (2014); La Triennale, Palais de Tokyo, Paris (2012); Ecstatic Alphabets / Heaps of Language, MoMA, New York (2012); Greater New York 2010, MoMA PS1, New York (2010); The Generational: Younger than Jesus, New Museum, New York (2010); Afro - Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007); Talk Show, ICA, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, The Studio Museum of Harlem (2005 — 06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).

After its debut in Chicago, John Marin's Watercolors: A Medium for Modernism will travel to the High Museum of Art, Atlanta, where it will be on view from June 26 through September 11, 2011.

«Abstraction in the visual arts has often been misunderstood through the lens of the historical avant - garde and high modernism, whose utopian ideals of universality and humanism were intertwined with the totalizing ambitions of the social and political projects of Western modernity,» said curator Acevedo - Yates.

«This specifically Modern vision», Amnon Barzel asserts, «was born in the divided brushstrokes of the Expressionists; it cuts across 20th century Modernism through the high points of Cubism, the use of collages and Rauschenberg's «combines» and finally expresses itself in Schnabel's broken plates» (A. Barzel, «With Schnabel, About Schnabel», in Julian Schnabel, exh.

Abstraction, as a language, remains linked to the high modernism left behind in its original form somewhere in the last century.

Though art school has certainly evolved from there (with a relationship to painting in general that is worthy of debate in its own right) much of its structure and divisions are based on ideas put forth by individuals religiously committed to the highest ideals of utopian modernism.