Sentences with phrase «art moves toward»

The simple idea that art moves toward flatness and abstraction leads, for Rose, into Minimalism, and «ABC Art» is often considered the first landmark essay on Minimalist art.

As movement gave way to movement, Greenberg insisted, art moved toward increasing abstraction.

Not exact matches

On the other hand leaders of the Bible school movement have been developing a theory of liberal arts education with the Bible at its center, and through an accrediting association have moved toward standardization and steady improvement of a program which seeks to synthesize conservative evangelical Christianity with a valid educational ideal.

Ministerial education, like education in general, has moved away from the classical pattern toward a greater emphasis on practical arts and vocational training.

As these giant scavengers move to reoccupy their full seven - million - square - mile range, scientists are using state - of - the - art technology to guide the Pleistocene - period survivors toward full self - sustainability.

Massie adopted Mao as a kitten in Ashville, N.C., and the pet followed its now -32-year-old owner on moves to Athens, Ga., San Bernardino, Calif., and finally to Charlotte, N.C., where Massie is working toward earning a fine arts degree in painting at the University of North Carolina at Charlotte.

Using the incredible art form of Japanese anime, the movie opens with two young sisters peeking out of a moving truck as it heads toward their new home.

The invention of the camera took us beyond radio and literature and set modern art on a path aimed toward the moving picture, and this field recognizes those behind the lens.

It is moving everyone toward the art and craft of teaching.»

By addressing the four priority areas highlighted in this Action Agenda, the Partnership will be moving toward the goal that, by the year 2020, every young person in America, at every grade level, will have equitable access to high quality arts learning opportunities, both during the school day and out - of - school time.

Counties on the Move Toward Arts Education for All Students.

The Art of Coaching Teams celebrates the art in leading great teams and provides a practical framework to help you understand the unique factors about your team and move the team toward common goaArt of Coaching Teams celebrates the art in leading great teams and provides a practical framework to help you understand the unique factors about your team and move the team toward common goaart in leading great teams and provides a practical framework to help you understand the unique factors about your team and move the team toward common goals.

[79] Also influential in supporting the move toward integrated instruction was the work of Donald Holdaway, who, in concert with many teacher colleagues, had been implementing an integrated language arts approach in Australia for a few decades.

Slicing and Dicing the ELA Common Core Standards Virginia Goatley As schools move toward implementing new English language arts standards, research - based ideas help address critical issues.

He fell in love with the art form when he first started reading hip - hop lyrics and liner notes, and he moved toward novels after reading Richard Wright's Black Boy at 17.

Commitments like these are necessary to keep moving ahead toward a goal (or an income), but I think it's important to remember that writing is also art.

During her most fertile period, while she was living in New York in the sixties, she led the way with astonishing creativity — and in two directions simultaneously — as art moved from the established territory of Abstract Expressionism toward Minimalism and Pop.

«It's moved toward a much more consolidated equity investment vehicle, it has truly become an international business, it's bringing to the art market an incredible volume of money, and it puts pressure on mom - and - pop operations like ours.»

It was there that the gallery's program began to move more toward Abstract Expressionism and American Post War art, a direction that has continued into the present day.

Interest has steadily grown in the career of the American painter Lee Lozano (1930 — 99) over the last decade, specifically in her move toward conceptual art that culminated in her boycott of women for nearly the last 30 years of her life.

At this early stage, his works were mostly done in a geometric Op art style that drew ideas from both Bauhaus and Minimalist theory, while by the mid-sixties, he moved away from the optical, scientific aspect of his work and toward a more poetic and painterly direction.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Perhaps artists, like Mr. Kreimer, by exhibiting both realist and abstract works of art, are moving the subject of painting away from presentation of an image and toward the act of perception.

In fact, they were taking risky moves toward an avant - garde cinema and video art, such as Empire, an eight - hour shot of the Empire State Building.

Perhaps no art movement before or since has provided more freedom of expression and democracy of form than the postwar move toward abstraction.

But his landmark essay «Avant - Garde and Kitsch» showed him moving away from Marxism and toward a kind of politicized, fervid promotion of modern art.

Steve Zavattero: Ray and I feel strong that with the myriad of changes in the contemporary art world — the many gallery closures, the move toward online sales, the focus on the art fair — many committed, professional, talented artists were suddenly not being afforded the same opportunities for in - person, solo exhibition exposure that existed previously.

After spending several years emulating artists in the Armory Show, Davis started moving toward a signature style with his 1919 Self - Portrait, in the collection of the Amon Carter Museum of American Art.

Art Reveiw «The canvas,» Stout wrote, «came not from any remembered form of flowers or flower beds but from a tree outside the door, a tree that the thin foliage of the lower reaches allowed the rising branches to be seen, rising, yet moving sideways, toward each other.»

The Fine Arts Work Center's Summer Awards Celebration is its largest and most widely attended fundraiser, an annual commemoration of individuals whose essential gifts for writing, art, and action have moved us toward a more progressive and humane society.

Subsequently, there was an occasional sighting of a new painting at an art fair, and rumors had it that Martinez was moving toward abstraction.

l Los Diez moved abstraction from purely visual, formal concerns toward conceptual and phenomenological ends, in line with other contemporaneous international art movements, to engage both the viewer and the broader collective conscience of Cuba.

By moving toward abstraction, art removes entirely the dialectic of nature and the imagination.

When the Trump era of fast - moving political developments headed toward cultural institutions this year — specifically the president's proposed defunding of the National Endowment for the Arts — at least two museum directors in New York felt compelled to jump into the fray.

Artists were quoting «The Work of Art in an Age of Mechanical Reproduction,» by Walter Benjamin, and Rosalind E. Krauss was moving toward her own criticism of the «originality of the avant - garde.»

Taking the era's broader move toward Minimalism as its cue, Process Art found its footing in the late 1960s as artists challenged the idea of art meant to be valued and collected in the thriving art markArt found its footing in the late 1960s as artists challenged the idea of art meant to be valued and collected in the thriving art markart meant to be valued and collected in the thriving art markart market.

In 1923, there was a big change in Miró's art, moving toward more sign - like forms where flat shapes and lines, mostly black or strongly colored, suggest the subjects, sometimes quite cryptically.

«With the increasingly fast - pace of the art market, and a progressive move away from the traditional gallery model toward art fairs, alternative venues, and a host of digital platforms, it seems like the propitious moment to adopt a new and more flexible working model.

Indigenous Peoples Task Force (IPTF) has mainly focused their efforts on HIV care and education, and now they are moving toward including more programming for indigenous arts and healing with The Mikwanedun Audisookon Center for Art and Wellness.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Art world boundaries continue to evolve as we move toward a one - world scene.

Affected by surrealism and also by Picasso, he moved toward a highly abstract art in order to express, rather than illustrate, feeling.

Marmite Art prize runner up, Kate Knight work is heavily influenced by the history of the baroque and rococo art movements, Knight has brought forward associations with prosperity and mirth from the Baroque period and the move toward the decorative during the Rococo periArt prize runner up, Kate Knight work is heavily influenced by the history of the baroque and rococo art movements, Knight has brought forward associations with prosperity and mirth from the Baroque period and the move toward the decorative during the Rococo periart movements, Knight has brought forward associations with prosperity and mirth from the Baroque period and the move toward the decorative during the Rococo period.

His voluptuous silk screens and thornily congested combines, bristling with found images and objects of all sorts, helped loosen the stranglehold of Abstract Expressionism and moved American art toward the lively new frontiers of pop art, conceptualism, even an environmental consciousness (his paintings made with live grass, an installation of bubbling mud).

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

He moved to New York City in 1954 and joined the pop art movement, using distinctive imagery drawing on commercial art approaches blended with existentialism, that gradually moved toward what Indiana calls «sculptural poems».

In the 1960s, he was deemed a Color Field Painter, but at the time he was already moving toward the material specificity of process art, building dense surfaces with unexpected additives, such as sand, glitter, sawdust, wood shavings, and dressmaker's beads.

After chafing under the strict rules and hierarchy of the Institute, Whitten left behind his interest in science (though it would resurface in his art) and moved toward visual art.

By the mid-1960s, however, Rothko was moving on from there, following a larger art - world trend toward paring back — sometimes all the way to black, as in other inky paintings of the era by Frank Stella and Ad Reinhardt.

Drawing on her experience as a workshop leader and her long career in the art world, she has developed a program to help other artists move toward empowerment and build strategies for self - advocacy and financial security.