Sentences with phrase «art historical point»

In Room 3 paintings by Chris Ofili, Sanya Kantarovsky and Apostolos Georgiou feature embracing figures, and on the back wall objects dominate with Philip Guston, Michael Simpson and Domenico Gnoli, punctuated with a tiny Giorgio Morandi, to make the art historical point about the metaphysical life of things.

It was felt to be too subjective, too vague from an art historical point of view, and too much related to Sandberg's personal views on art.

From an art historical point of view, this noteworthy find, in which the artist has acted on the playful aesthetic potential in iconic Soviet images, confirms once more the conceptual links between Rajangu's early work and Sots Art, which mixed the approaches of socialist realism and pop art and, according to Boris Groys, sought to analyse the all - encompassing aesthetico - political Soviet project.

Her collection should be considered not only from an art historical point of view; it is also a documentation of a series of relationships and support structures she has put in place that carve out a large swath of the art of the African diaspora.

Not exact matches

Challenging the Research Base of the Common Core State Standards: A Historical Reanalysis of Text Complexity Educational Researcher, October 2013 Researchers find that contrary to the authors of the English Language Arts component of the Common Core State Standards (CCSS)-- which builds a case for higher complexity in textbooks and reading materials for students by pointing to research showing a steady decline in the difficulty of student textbooks over the past 50 years — text complexity actually has either risen or stabilized over this time.

Including all the sites of the Buccaneer we also visit the Raft Point rock art site, swim at Ruby Falls, visit historical Camden Harbour and Kuri Bay Pearl farm, explore the Prince Regent River and the famous Kings Cascade and catch mud crabs on the Hunter River — just some of the places we visit.

Bella Giulia BB is situated in the very historical centre of Ragusa, the perfect starting point to visit the wonderful Baroque works of art.

The familiar digital arrows point to becoming - subject and becoming - object, charged with Art Historical and pop cultural attitudes toward the female body.

The presentation of their work revolves around art itself and its history, both ancient and modern, and they take quite disparate approaches to historical points of departure.

The major group exhibition Believe not every spirit, but try the spirits takes as its departure point the art of forgotten Victorian - era Spiritualist Georgiana Houghton (1814 - 1884), and features contemporary and historical painting, sculpture, video and photography that both explore and adopt Spiritualist practices and methodologies.

Other shows have attempted art - historical blockbusters without the art or the history, whether of Africa, Spain, or (exclamation point duly noted) «Russia!»

Yet if Other Primary Structures reveals Minimalism's contingency as an art historical category, it does so by fetishistically reinscribing Primary Structures as the point of lost origin.

Whether or not a collection dedicated to the art of a particular country needs to serve as a historical museum is a moot point, but given that art history is now intimately linked to the study of social and political issues, presenting the old cocktail of countesses and Chippendale has a reduced impact.

This study of key moments in the history of ready - made and object - based art features Damien Hirst (London), Gerhard Merz (Munich), Jeff Koons (New York) and their shared historical point of reference, Marcel Duchamp (Paris and New York, 1887 - 1968).

Black Dada references social and historical conditions through the formal methods of conceptualism, producing a point of convergence — the artwork, which sieves and questions matters pertaining to the freedom of abstraction in language and visual art, the animating force of blackness, and the strategies of experimental avant - gardes.

At this point, I'll just say that, in terms of sheer audacity, collective and individual, «Radical Women» is the single most exciting and hope - inspiring historical group show of contemporary art I've seen in 10 years.

LOCATION: New Cross, London SPECIALTIES: The school offers a tutorial system, allowing students to choose their focus, but its known for teaching conceptually weighted work TUITION: # 3,330 ($ 5,600) for Brits; # 8,650 ($ 14,500) for international students TIME TO DEGREE: 2 years NOTABLE FACULLTY: Suhail Malik, Mark Leckey, Lindsay Seers FAMOUS ALUMNI: Malcolm McLaren, Lucian Freud, Yinka Shonibare, Bridget Riley, Damien Hirst, Sarah Lucas, Liam Gillick BIGGEST SELLING POINT: Goldsmiths offers a unique blend of studio practice, theoretical, and art - historical training that has made it the U.K.'s most notable and best - known graduate program.

From an art historical perspective, we find points of contact between Hasselknippe's works and minimalist art by the likes of the American West - Coast artists DeWain Valentine and John McCracken.

Appearing as an exponent of the Neo-Expressionism when the painting was considered to be overdated medium, Kiefer brought the innovative point of view by using the materials partially borrowed from Robert Rauschenberg's combines and unconventionality of Art Brut and Arte Povera in a combination with symbolism and mysticism, deeply imbued with historical references.

Indeed, it was the existing scholarship on this group of artists that, in part, influenced our decision not to root our analysis within this (notably all - male) lineage and to begin instead with an equally influential and relevant starting point that has nevertheless been insufficiently explored in the critical and art historical discourse around institutional critique: feminism.

At times, her vessels allude to the historical depiction of severed heads, using the myth of Medusa as a point of departure to address the terror of female sexuality as it is represented throughout art history.

The blazing colors in Beverly Fishman's Untitled (Anxiety)[Zanax Bar] are sensuously arousing — they give a kind of knockout punch to the eye — and the four squares that form the rectangular bar seem to allude to Albers's Homage (s) to the Square even as they acknowledge Frank Stella's Protractor paintings by way of the curves of the two end squares, but all that art historical referencing seems beside the point of the irony built into the work, for Zanax is an anti-anxiety pill.

When we started to cover contemporary art in Frieze magazine back in 1991, it was still considered to be an insider joke; now we have got to the point where historical work can almost be overshadowed by it.»

Smith's meticulously painted works — equal parts retro sci - fi, art historical romp and pointed critique — masterfully alternate glazes, smooth gradients and hard - edged precision, portraying this surrogate in ever - elaborate contexts.

This is also the point in the chronology where we move from historical art into modernism: a transition that Tate Britain regularly stumbles over.

Like Life thus provides a point of departure for examining historical and contemporary preconceptions of what constitutes a work of art, as well as emotional, physical, and aesthetic responses to the human body across time.»

Anton Ginzburg uses an array of historical and cultural references as starting points for his investigations of art's capacity to penetrate layers of the past.

With the early Arts and Crafts movement and the Bauhaus vision of art integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspectiart integrated with everyday life as its historical point of departure, the Art and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspectiArt and Craft department seeks to elaborate on the relationship between art and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspectiart and life, on matters of materiality (production, sustainability, globalisation), on design and architecture, and on artistic practice in social and political contexts in a contemporary perspective.

The exhibition with the title Port - MIT is generally accepted as the historical starting point of net art (see the Whitney Museums» historical timeline of net art).

Museums lending paintings include: The Metropolitan Museum of Art; The New - York Historical Society; Museum of Fine Arts, Boston; Baltimore Museum of Art; Fenimore Art Museum; The Frances Lehman Loeb Art Center at Vassar College; Maryland State Archives; West Point Museum; Williams College Museum of Art; and Princeton University Art Museum.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

From 4 to 7 pm, galleries and art institutions in the neighborhood open their doors to Art Walk visitors; participating institutions include the California Historical Society, Chandler Fine Art, Crown Point Press, the Contemporary Jewish Museum, the Museum of Performance + Design, the RayKo Photo Center, the UC Berkeley Extension Art Gallery, Yerba Buena Center for the Arts, and moart institutions in the neighborhood open their doors to Art Walk visitors; participating institutions include the California Historical Society, Chandler Fine Art, Crown Point Press, the Contemporary Jewish Museum, the Museum of Performance + Design, the RayKo Photo Center, the UC Berkeley Extension Art Gallery, Yerba Buena Center for the Arts, and moArt Walk visitors; participating institutions include the California Historical Society, Chandler Fine Art, Crown Point Press, the Contemporary Jewish Museum, the Museum of Performance + Design, the RayKo Photo Center, the UC Berkeley Extension Art Gallery, Yerba Buena Center for the Arts, and moArt, Crown Point Press, the Contemporary Jewish Museum, the Museum of Performance + Design, the RayKo Photo Center, the UC Berkeley Extension Art Gallery, Yerba Buena Center for the Arts, and moArt Gallery, Yerba Buena Center for the Arts, and more.

He pointed out that exhibitions are not collected nor have they been documented with the consistency and depth that historical research requires, leaving in obscurity the work and imagination of curators who absorbed the lore of their elders and informally passed on their accumulated expertise to the succeeding generation: Only by comprehending those genealogies can we understand how some objects rather than others entered into conventional art history.

Eschewing a particular art - historical definition of or vantage point from which to view his art, Aldrich sees his artistic practice as a constantly evolving force.

Including such established art world figures as Lorna Simpson, Hank Willis Thomas (who also contributes an artist essay in the exhibition's catalogue), Kerry James Marshall, and Glenn Ligon, the exhibition primarily features work within the past decade, and reflects a contemporary point of view rather than a historical one.

I would liked to have seen more emphasis on the wide - ranging perspectives available in contemporary art (a singular Cardiff telephone would have gotten the point across), and some variation in the historical choices (Magritte's The Invisible World painting, the show's calling card, makes the point well enough alone).

Both works seek to define and locate a central point of experience, organizing themselves around an empty core — the point from where the artistic idea might surge, setting in motion the art - historical methodology and mythology that attends to this episode in the production of artistic work.

Curator Francesca Herndon - Consagra mentions this explicitly in the conceptual statement about the exhibition, referring to Tadao Ando's architecture and Rock Settee by Scott Burton as principle points of curatorial investigation, and conflating them with the visual language and art historical touchstone of dreams.

Beyond the symbolic transactions, institutional protocols and disconnections between contemporary art and the discourse of art history, the exhibition suggests a territory where separate timelines converge, a vanishing point where they can be reconciled interpretively, a time, right after «the contemporary», when art and history, the present and its transcription as an art - historical past, unfold in simultaneity.

The American art historian Edward A. Shanken points to the example of Roy Ascott who «powerfully demonstrates the significant intersections between conceptual art and art - and - technology, exploding the conventional autonomy of these art - historical categories.»

Auto - Interview is interesting on many levels, as a means of asking who is doing what in the business of encountering and interpreting an artwork, but also from an historical point of view - the interview provides an ideal opportunity to look back into the beginnings of key practices, such as video art, new media, work on television, etc..

Perhaps, as a growing number of museums focus their acquisitions and exhibition programming on contemporary art, the competing issues of curators seeking to examine the work of living artists from an historical vantage point and the career and market concerns of those very artists will result in other stand - offs.

«I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things — genre paintings, historical paintings — the sort of derivatives we get in contemporary society,» Walker stated in 1999, during an interview with New York's Museum of Modern Art.

I mean, he's done a lot of writing and he's done all this, and I don't think any of that production can and should be denied at this point by art - historical fact.

Collaboratively, participants considered the points of convergence between museums and contemporary performance, in search of answers to the question, «What if an art collection were treated like a musical or choreographic score — existing both as a historical document and as the material for an interpretive performance that could be played at any moment?»

While the other regional exhibitions (The Point Is... 2.0: Black Panther Party 50th Exhibit at Joyce Gordon Gallery, 50 Years Later: The Art Show at SoleSpace, and ICONIC: Black Panther at American Steel Studios) pay homage to the Party's rich visual legacy through specific aspects of the Party's history — including women's participation and influence throughout the Party or the Ten - Point Plan — All Power to the People provides both a thorough historical overview and contemporary meditations by artists Carrie Mae Weems, David Huffman, Hank Willis Thomas, Sadie Barnette, Trevor Paglen, and William Cordova.

The third floor takes Pop art as its focal point, with works from the 1960s installed within the context of a range of historical and contemporary developments, including those that address urbanism, consumerism, appropriation, and politics.

cat., Ohio: Wexner Center for the Arts, 2010, p. 60) Bradford's work with these papers was, in the words of Christopher Bedford, «a calculated way to enter the deeply freighted historical conversation of abstract painting from a vantage point that was pointedly grounded in his social experience and that forced the hermeticism of abstraction to account for the unrelenting specificity of his materials.»

The starting points for Sasnal» s latest paintings include his own photographs, the internet, newspapers, film stills, found photographic portraits and historical works of art.

While also held together by shared processes and materials, the artists respond to their common art historical reference point individually, some with subversive wit, others through their use and juxtaposition of materials.