Sentences with phrase «art during the past century»

With a title that plays on Robert Rauschenberg's infamous 1961 portrait of Iris Clert — a telegram that simply states, «This is a portrait of Iris Clert if I say so» — this major groundbreaking exhibition examines the rise and evolution of symbolic, abstract, and conceptual portraiture in modern and contemporary American Art during the past century.

The use of trash in the making of art during the past century is so widespread as to defy summarization.

Not exact matches

They signal the acceptance of the disconnection between faith and art for modern man, which during the past two centuries has been advocated by the avant garde.

Efforts to collapse the barrier between art and life during the past half century are often associated with the material innovations of artists such as Robert Rauschenberg — with his rejection of notions of mastery and craftsmanship and insistence on bringing everyday materials into his work, like his bed, the morning newspaper, or an old tire — and the enactment of ordinary daily rituals like eating and drinking in the «happenings» of Allan Kaprow and others.

Among the acquisition highlights during the past two decades have been: in Archaeology, the Renée and Robert Belfer Collection of Ancient Glass and Greek and Roman Antiquity and the Demirjian Family European Bronze Age Collection; in Jewish Art and Life, an illuminated Mishneh Torah of Maimonides (ca. 1457), acquired jointly with the Metropolitan Museum of Art, and the restored 18th Century Tzedek ve - Shalom Synagogue from Paramaribo, Suriname; and, in the Fine Arts, Nicolas Poussin's «Destruction and Sack of the Temple of Jerusalem» (1625), Rembrandt van Rijn's «St. Peter in Prison» (1631), the Arturo Schwarz Collection of Dada and Surrealist Art, Jackson Pollock's «Horizontal Composition» (1949), the Noel and Harriette Levine Collection of Photography, and Gerhard Richter's «Abstraktes Bild» (1997); together with an active and ongoing program of acquisitions in contemporary art, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike StaArt and Life, an illuminated Mishneh Torah of Maimonides (ca. 1457), acquired jointly with the Metropolitan Museum of Art, and the restored 18th Century Tzedek ve - Shalom Synagogue from Paramaribo, Suriname; and, in the Fine Arts, Nicolas Poussin's «Destruction and Sack of the Temple of Jerusalem» (1625), Rembrandt van Rijn's «St. Peter in Prison» (1631), the Arturo Schwarz Collection of Dada and Surrealist Art, Jackson Pollock's «Horizontal Composition» (1949), the Noel and Harriette Levine Collection of Photography, and Gerhard Richter's «Abstraktes Bild» (1997); together with an active and ongoing program of acquisitions in contemporary art, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike StaArt, and the restored 18th Century Tzedek ve - Shalom Synagogue from Paramaribo, Suriname; and, in the Fine Arts, Nicolas Poussin's «Destruction and Sack of the Temple of Jerusalem» (1625), Rembrandt van Rijn's «St. Peter in Prison» (1631), the Arturo Schwarz Collection of Dada and Surrealist Art, Jackson Pollock's «Horizontal Composition» (1949), the Noel and Harriette Levine Collection of Photography, and Gerhard Richter's «Abstraktes Bild» (1997); together with an active and ongoing program of acquisitions in contemporary art, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike StaArt, Jackson Pollock's «Horizontal Composition» (1949), the Noel and Harriette Levine Collection of Photography, and Gerhard Richter's «Abstraktes Bild» (1997); together with an active and ongoing program of acquisitions in contemporary art, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike Staart, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike Starn.

Essays exploring three significant periods of experimentation in portraiture during the past century: the 1910s - 20s; 1960s, and 1990 — present have been prepared, respectively, by each of the three curators of the exhibition: Jonathan Frederick Walz, director of curatorial affairs & curator of American art, the Columbus Museum, Columbus, Georgia; Kathleen Merrill Campagnolo, independent curator and scholar, and Anne Collins Goodyear, co-director of the Bowdoin College Museum of Aart, the Columbus Museum, Columbus, Georgia; Kathleen Merrill Campagnolo, independent curator and scholar, and Anne Collins Goodyear, co-director of the Bowdoin College Museum of ArtArt.

For example, the Museum of Fine Arts Boston only had three paintings by African - American artist back in 2000, but now holds one of the most significant collections of art by African Americans in the nation, including works by almost every major African - American artist working during the past century and a half.

During the past fifty years, because twentieth - century postmodernist art eschews aesthetics, women were freed to carve out a large part of the art world for themselves, by focusing on their own narrative and processes.

Taking place in The Kitchen theater and gallery spaces throughout the 2015 — 2016 season, «From Minimalism into Algorithm» sets contemporary and historical painting, sculpture, performance, and musical composition in counterpoint, proposing a new through - line for art - making during the past half century.

The Hammer Museum and The Museum of Contemporary Art jointly present Masters of American Comics, a large - scale exhibition comprising in - depth presentations of work by 15 artists who shaped the development of the American comic strip and comic book during the past century.