Sentences with phrase «social realism at»

Not exact matches

She raves: «I take comfort in knowing that we have a director who thoroughly understands and is willing to deeply engage with the social realism of today's America, one film at a time.»

These directors made their mark at the beginning of their careers in the context of contemporary British social realism, though they have later on moved to different types of filmmaking.

And aside from the dream sequences — all of which enhance and are justified by the story — the authenticity, realism, and social relevance established by writer / director Geremy Jasper is such that, at times, you could almost think you were watching a documentary.

Jean - Pierre and Luc Dardenne have their own way with social realism and commentary, one that that doesn't have Loach's humor but is just as good at capturing the textures and rhythms of lives and often better as sketching the anxieties and conflicts within communities.

There's been a backlash against these films in recent years (partly levelled at the public school, Oxbridge provenance of the filmmakers), but the fact that most of them ride high on this list suggests they're still credited with initiating a new age of storytelling in British cinema, both in terms of the range, social and geographical, of subjects and a style of filmmaking that honours realism above all else.

But what I mean is that it keeps it at the level of the social realism of the 1930s and, in that sense, it is really conservative.

Surrealism USa, the catalogue to the exhibition of the same name at the National Academy of Design, traces the history of this movement in the United States from the 1930s to the 1950s by examining its manifestations throughout the country — from Social Surrealism and California Post-Surrealism to Magic Realism and the beginning of Abstract Expressionism.

Hallmarked at once by expressionism and realism, Alice Neel's œuvre translates the paradoxical personality of its maker, who wanted to paint individuals from all social classes and create a visual history of her time — a Comédie Humaine.

His paintings evidenced the influence of Cubism, Social realism, and Surrealism at the service of a personal expression that was poignant and enigmatic.

To simplify and clarify the study of art, historians have created precise categories such as «social realism», «Surrealism» and «abstract expressionism», at the expense of many artists like Eilshemius,

In New York, he studied with Reginald Marsh at the Art Students League in the 1940s, and became attuned to Marsh's gritty brand of social realism, honed during the Depression.

This well - paced exhibition illuminatingly connects a group of artists who chose to stand apart from the social realism prevalent in the Philippines at the time.

At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.

He then studied at the Düsseldorf Academy of Art, and showed the first of his Capitalist Realist works, which were ironic responses to Social Realism and Pop Art, in a 1963 exhibition he organized with fellow artists Gerhard Richter and Konrad Fischer - Lueg.

At this time, his style was grounded in social realism, and his paintings focused on the lives and struggles of urban black Americans.

Another scoffs at Social Realism by amassing newspaper images of East German Olympic athletes and crossing each out with a big black X.

Painting was seen as the lowest art form, the most commercial, not really art at all and Social Realism was the most discredited style, a dead language.

His work evolved from academic realism, then social realism through Expressionism, Fauvism and Cubism to arrive at his own personal style of abstraction, a richly - colored, radiant Luminist Abstraction.

Two of Mr. Segal's most striking works, «Holocaust,» at San Francisco's California Palace of the Legion of Honor and «Gay Liberation,» at Stanford University, are prime examples of the unique brand of social realism that made him one of the most quietly influential artists of his time.

A more general social realism can be seen in Up at the Bleachers, 1983, and After Hours, 1993, where we can almost hear the buzz of conversation between friends.

It is part of a long established tradition of social realism, which maintains a close connection between the camera's unguarded eye and the democratic imperative to look directly at life, including the unsavory and the unseen, in a specific and unidealized way.

At the same time, the American scene was equally hostile to us because if, as we thought, to make an authentic gesture without any a priori idea of how it would turn out, was the real gambit, then everything — «hard - edge» abstraction with its ideology, Social Realism with its ideology, regionalism with its ideology, landscape painting with its sentimentality, portrait painting with its class background, anything you could imagine — was equally threatened by our premise.

At the time, an expressionistic school existed in Lithuania that was unconcerned with realism or social issues.

In 2013, he curated the group show, «So Real» at Radiator Gallery in Long Island City, which examined contemporary themes in artworks related either directly or indirectly to both the Social Realism and Socialist Realism movements of the early 20th century.

Ditto his break with social realism, which dominated photography at the time.

As an artist playing with the limits of realism, Kenturah Davis points to the construction and materiality of the portrait, while also emphasizing the internal and social nature of language in her solo show Narratives and Meditations at Papillion in Los Angeles.

Lewis's art at the time was grounded in social realism and focused on the lives and struggles of black Americans, but in the 1940s, he began to explore abstraction.

He has that rare combination of idealism and realism that makes him effective at promoting positive social change.