Sentences with phrase «about vernacular art»

Now it's her job to apply her Millennial energy to return the High to its rightful place in the national and international conversation about vernacular art.

Not exact matches

Umberger seemed circumspectly optimistic about the broader implications of this growing receptiveness to vernacular art: «[The] more often public audiences encounter powerful art made by minority demographics, the more lopsided old narratives appear, and the mandate for inclusion continues to grow.»

Among the periods she intends to highlight are the years 1924 to 1943, when the notion of a distinct American folk art came into public consciousness through the efforts of the Whitney Studio Club and MoMA director Alfred Barr; the long decade from the late 1960s through the early 1980s that saw both the publication of Roger Cardinal's 1972 book Outsider Art and Jane Livingston and James Beardsley's groundbreaking 1982 show «Black Folk Art in America, 1930 — 1980» at the Corcoran Gallery; and the near present, with its ongoing conversation about how to contextualize vernacular aart came into public consciousness through the efforts of the Whitney Studio Club and MoMA director Alfred Barr; the long decade from the late 1960s through the early 1980s that saw both the publication of Roger Cardinal's 1972 book Outsider Art and Jane Livingston and James Beardsley's groundbreaking 1982 show «Black Folk Art in America, 1930 — 1980» at the Corcoran Gallery; and the near present, with its ongoing conversation about how to contextualize vernacular aArt and Jane Livingston and James Beardsley's groundbreaking 1982 show «Black Folk Art in America, 1930 — 1980» at the Corcoran Gallery; and the near present, with its ongoing conversation about how to contextualize vernacular aArt in America, 1930 — 1980» at the Corcoran Gallery; and the near present, with its ongoing conversation about how to contextualize vernacular artart.

5 Storr, whose essay is full of perceptive comments about Drexler's work (as when he notes how the «vernacular» quality of her colors evokes «sideshow signage») is certainly correct in making the connection between Drexler and her abstract contemporaries, but we shouldn't let the existence of such strong affinities (whether with Pop or with abstract styles) distract us from the distinctive qualities of Drexler's art, especially when it comes to materials and process.

«It's about effacing the difference between other and self, and seeing the elasticity of all these lives you could have led,» says Hammond, who in recent years has become admittedly obsessed with collecting vernacular photography and now owns well over 10,000 images that find their way into her art.

VERNACULAR: A painterly conversation about abstraction Art and Film: Elizabeth Murray and the splendor of the ordinary

Writer and critic Brian Droitcour presents «Vernacular Criticism,» a talk that looks to writing about art outside the established channels of professional media as a potential source of ideas...