Sentences with phrase «art context since»

Not exact matches

The film is hilarious, if viewed in context, but of course having watched it dozens and dozens of times since my first viewing in the early 1960's in an «art cinema» in Greenwich village, I no longer laugh out loud, but enjoy my silent amusement, because I love satire.

And so, in choosing it as the film from the past ten years I would most like to discuss in the context of the future of the medium, I might be asserting, against my better judgment, the primacy of the auteur over and above national cinemas and identity art — the ferocious and aggressively confrontational cinema of Lucrecia Martel serving as evidence that an ethos long - since debunked in serious academic circles still has credence or at least value in the second century of the movies.

Since its establishment in 1985 by former Flash Art editor Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary exhibitions, creating meaningful contexts to establish links to the greater art historical continuArt editor Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary exhibitions, creating meaningful contexts to establish links to the greater art historical continuart historical continuum.

Having had two solo shows at Hauser & Wirth, and solo exhibitions at the Milwaukee Art Museum, Kemper Museum of Contemporary Art (Kansas City), McNay Art Museum (San Antonio), and the Garage Museum of Contemporary Art (Moscow) just since 2015, we can't really say that this is a rare opportunity to see the artist's work, but we are excited to see Johnson work in a new medium and context.

It's Bucher's first on American soil in more than 40 years, and some of the art - works on display, such as the imperial Grande Albergo Brissago (Eingangsportal, 1987, a cast of the entrance portal of a since - demolished hotel on Lake Maggiore), have never been shown in an institutional context.

The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot's work in context of the Barnes's unparalleled collection of impressionist, post-impressionist, and early modernist paintings.

The first history of lesbian art in the United States, this volume documents works since 1970 within the context of gay culture and political activism.

Since its establishment in 1985 by former Flash Art editor, Michael Kohn, Kohn Gallery has presented art historically significant exhibitions in Los Angeles along with contemporary exhibitions that create meaningful contexts, establishing links to the greater art historical continuArt editor, Michael Kohn, Kohn Gallery has presented art historically significant exhibitions in Los Angeles along with contemporary exhibitions that create meaningful contexts, establishing links to the greater art historical continuart historically significant exhibitions in Los Angeles along with contemporary exhibitions that create meaningful contexts, establishing links to the greater art historical continuart historical continuum.

Olivier Mosset emerged in the 1960s and has since been associated with a multitude of art historical movements, involving himself in both the European and American artistic and critical contexts.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

Since the early 1990's, Yonemoto's solo work has been exploring experimental cinema and video art within the context of installation, photography and sculpture.

Since its inception, 25 years ago, KW has established itself, not only as an institution, but also as a dynamic and lively space for progressive practices within the Berlin art scene, as well as in an international context.

Only a few major exhibitions devoted to AIDS - art have been mounted since, so the challenges (and unspoken criteria) remain pretty much the same, although the social and cultural contexts have dramatically changed.

«An art fair seemed an unusually interesting context to celebrate an art dealer, since an art fair is really 200 art dealers and their respective ideas,» says Matthew Higgs, who curated the section.

The first major exhibition of Walters» work since the 1950s, this show situates him in the historical context of Woodstock ceramic arts, spanning the Byrdcliffe colony in the early 20th century and the work of Woodstock modernist artists in the 1920s and»30s.

Since the early 1990s, Pedro Cabrita Reis has made masterful use of architectural materials including cement, bricks, wood, steel, metal, beams and actual fragments of architecture, which he juxtaposes with elements from the visual arts such as enamels, pigment and neon light to create poetic, imagination - led works of great political value, capable of revealing memories associated with the context in which they are located and from where they come.

Unpacking Art: Lunchtime Talks on Works in the SFU Art Collection had its inaugural session January 2017 and has since touched on various themes brought forward by members of the SFU community to «unpack» the context and the questions raised by works of art in the collectiArt: Lunchtime Talks on Works in the SFU Art Collection had its inaugural session January 2017 and has since touched on various themes brought forward by members of the SFU community to «unpack» the context and the questions raised by works of art in the collectiArt Collection had its inaugural session January 2017 and has since touched on various themes brought forward by members of the SFU community to «unpack» the context and the questions raised by works of art in the collectiart in the collection.

Since 2013, Tresoldi's work has focused on site - specific installations in public spaces and archaeological contexts, as well as private commissions, contemporary art and music festivals and group exhibitions.

Since the beginning of the 80s Martin Wong has been showing his work in the context of exhibition spaces and galleries like the Semaphore Gallery, Exit Art and PPOW which were all just being set up at that time.

Sin motivo aparente (For no apparent reason) is a collective exhibition showcasing the work of over thirty Spanish and International artists with the single objective of reviewing the relationship between art and public within a context, the CA2M venue, Center where the viewer has been CA2M main objective since its opening five years ago.

We can confidently call the biennial a flagship project of the National Centre for Contemporary Arts as part of ROSIZO, since development and comprehensive support of the regional artistic community, and engaging a wide audience in the cultural context are among priority areas of our work», — Sergey Perov, Director general of the ROSIZO State Museum and Exhibition Center.

Since its founding, NOON has sought to provide the global art community with a report on the diverse communication and research in contemporary visual culture, with particular emphasis on the relationship between theories and contexts of a wide variety of fields.

While Jonas is widely known and respected within the art community — she was the 2009 recipient of the Guggenheim Lifetime Achievement Award — institutional representation of the progressive work she's been producing since the 1960s has been surprisingly thin, particularly in the U.S. And while the Biennale is, of course, highly conducive to innovative experimentation, such as when the U.S. pavilion was given over to the San Juan - based duo Allora & Calzadilla's commentary on Olypian athletes and airline furniture, Jonas is no stranger to adapting her performance - based work for an institutional context.

This tendency has been on the rise since the advent of Conceptual Art, when artists became more aware and critical of the complex context — ethical, social, economic — surrounding aArt, when artists became more aware and critical of the complex context — ethical, social, economic — surrounding artart.

This is a bit of a discordant concept, since these days we've come to understand that anything an artist does is wrapped in the larger context of their «artistic practice» and therefore becomes art.

The context of the show is most appropriate since the Philadelphia Museum of Art houses many of Duchamp's significant works.

«Parrish Perspectives: New Works in Context» presents a selection of new acquisitions from its permanent collection, showcasing around 70 works from the 300 plus art works acquired by the museum since reopening in the Water Mill location in 2012.

Since the very idea of a «psychedelic art» is tenuous, the exhibition does not propose a canonical presentation, but attempts to establish a series of artist experiments that relate to the many «plateaux» of the psychedelic, and its multiple histories as they unfolded in particular cultural contexts in Europe, Scandinavia, Latin America and Japan.

It is in the context of this newly established mechanical and social system of production that the figure of the artist assistant reappears in the discourse of art, having been largely absent from it since the days of the Renaissance workshop.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

Acknowledged as an early contributor to post-Internet art, Cortright has since moved to the forefront of digitally based painting practices, developing its unique language in both analog and digital contexts and engaging in conversations around the history of painting and the influence of technologies on its evolution.

His interest in photography began within the context of art history and has been developed since 1982 through various curatorial roles in museums and galleries, including the National Portrait Gallery, London (1982 - 88) and The Photographers» Gallery, London (1988 - 95).

In addition to her studio practice, Donahue has maintained the ongoing interdisciplinary project Disparate Minds with collaborator Tim Ortiz since 2014, the scope of which includes curatorial projects, exhibition reviews, essays, and research dedicated to discussing the work of marginalized self - taught artists in the context of contemporary art.

Rather than emphasize continuity over time, the book emphasizes cross-generational connections, and much of the talk focuses on the historical context — direct and indirect — that informs the work of Mexico's vibrant contemporary artists, several of whom — such as Francis Alÿs, Melanie Smith, and Teresa Margolles — are included in the Modern's current exhibition, México Inside Out: Themes in Art Since 1990.

Céline Condorelli, whose artistic practice is based on the social and cultural context she finds herself interacting with, has wished to meet Nathalie Du Pasquier, one of the key figures on the Milan art scene since the 1980s.

He edited an anthology of writings on contemporary art — titled Artists, Critics, Context: Readings in and around American Art Since 1945 — published by Prentice - Hall and is currently Professor of Fine Arts at St. John's University in New York City where he teaches course that operate at the intersection of theory and practice including Senior Thesis Seminar and Global Contemporary Aart — titled Artists, Critics, Context: Readings in and around American Art Since 1945 — published by Prentice - Hall and is currently Professor of Fine Arts at St. John's University in New York City where he teaches course that operate at the intersection of theory and practice including Senior Thesis Seminar and Global Contemporary AArt Since 1945 — published by Prentice - Hall and is currently Professor of Fine Arts at St. John's University in New York City where he teaches course that operate at the intersection of theory and practice including Senior Thesis Seminar and Global Contemporary ArtArt.

Frankfurt - based artist Michael Riedel has been investigating the issue of reproduction and repetition since his first performances in the context of the legendary art space Oskar - von - Miller - Straße 16, which he initiated at this address in Frankfurt in 2000.

We are thus armed with essential context for an artist who, though considered a giant of recent art, has not had a major exhibition in this country since Tate's previous retrospective in 1980 — 81, and may therefore be unfamiliar to many.