Sentences with phrase «appropriation by contemporary artists»

One of the most famous trademarks in the world, this sign has often been the subject of appropriation by contemporary artists.

Not exact matches

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Halsband's 1985 iconic portrait of Jean - Michel Basquiat and Andy Warhol no. 143 in boxing gloves became such a staple of popular culture that its appropriation by contemporary visual artists and street artists continues thirty years on.

As well as testifying to the by no means provincial nature of local collecting, the group show also raises issues questioning the very nature of art through works representative of various contemporary styles and movements: Conceptualism, Appropriation Art, Neo-Pop, Superkitsch, Arte Povera, Transavanguardia, Neo-Expressionism, various forms of Realism, YBA (Young British Artists), Düsseldorf School, Figuration, Abstractism and Hyperrealism.

1985 Drawings 1975 — 1985, Barbara Toll Fine Arts, New York, USA Great American Prints, Dolan Maxwell Gallery, Philadelphia, USA Fabrications, Gallery 400, College of Architecture, Art and Urban Planning, University of Illinois at Chicago, USA A New Beginning: 1968 — 1978, Hudson River Museum, Yonkers, USA With an Eye to Nature, Jeffrey Hoffeld & Co, New York, USA New York Now: Correspondences, Laforet Museum, Tokyo, Japan, traveled to Tochigi Prefectural Museum of Fine Arts, Japan; Tasaki Hall, Espace Media, Kobe, Japan Eighth Anniversary Exhibition1977 — 1985, McIntosh / Drysdale Gallery, Washington, USA New Work on Paper 3, Museum of Modern Art, New York, USA Ten Gallery Artists, Nina Freudenheim Gallery, Buffalo, New York, USA Appropriations: Black and White, Vanguard Gallery, Philadelphia, USA Nine Printmakers and the Working Process, Whitney Museum of American Art, New York (Exhibition traveled to Munich, Germany, Process und Konstruktion) From Organism to Architecture, New York Studio School, USA Jonathan Borofsky, Douglas Huebler, William Leavitt, Pat Steir, William Wegman Drawings, Richard Kuhlenschmidt Gallery, Los Angeles, USA New Expressive Landscape, Sordoni Art Gallery, Wilkes College, Wilkes — Barre, USA Doppelganger, organized by Paul Groot, Aorta, Amsterdam, Netherlands Promenades, Centre d'art Contemporain, Geneva, Switzerland New Art Modernism, San Francisco, USA Contemporary American Prints: Louis Comfort Tiffany Foundation Purchases, Brooklyn Museum, Brooklyn, New York, USA Harry de Jur Playhouse, Henry Street Settlement, New York, The Second Hurricane (Music by Aaron Copeland, Libretto by Edwin Denby, Back drop contributed by Pat Steir) Large Drawings, Bass Museum of Art, City of Miami Beach, USA, traveled to Madison Art Center, Madison, WI; Winnipeg Art Gallery, Winnipeg, Manitoba, Canada; Norman MacKenzie Art Gallery, University of Regina, Regina, Saskatchewan, Canada; Anchorage Historical and Fine Arts Museum, Anchorage, Arkansas; Santa Barbara Museum of Art, Santa Barbara, USA (Exhibition organized and circulated by Independent Curators Incorporated, New York) The Success of Failure, Diane Brown Gallery, New York, USA

Art and Appropriation, 1961 to Now, Wadsworth Atheneum Museum of Art, Hartford, CT Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy, Part I, curated by Phong Bui & Brooklyn Rail Curatorial Projects, Mana Contemporary, Jersey City, NJ The Time.

The exhibition, filling the entire 45,000 sq. ft. museum, consists of 260 works by 74 artists of different generations and examines the role of appropriation throughout modern and contemporary art.

Contemporary appropriation artists add a new dimension to the use of adopted images, as seen in the work of such artists as Mike Bidlo, David Bierk, George Deem, Audrey Flack, Kathleen Gilje, Paul Giovanopoulos, Deborah Kass, Jiri Kolar, Sherrie Levine, Carlo Mariani, Yasumasa Morimura, Vik Muniz, Richard Pettibone, Robert Rauschenberg, Andy Warhol and others, providing an instructive and stimulating counterpoint to the issues raised by the historical works in the show.

Organized by assistant curator Nora Donnelly, this ambitious exhibition featured nearly seventy works in all media, roughly divided into three sections: drawings and paintings by car customizers; photographs documenting the community surrounding hot rods and low riders; and examples of contemporary artists» appropriations of the look and attitude of car culture

It was less than a year ago that the contemporary art world — and the artist Richard Prince in particular — declared a victory for appropriation when the United States Court of Appeals for the Second Circuit ruled that Mr. Prince's use of photographs by Patrick Cariou in his own paintings and collages were permissible under fair use, because they had «a different character» from Mr. Cariou's work.