Not exact matches
It's a well known
fact that American and European box
art for games have differed quite significantly over the years, with American box
art having a more masculine edge to them, with action being the focus of the
art, whereas European
art tends to reflect a more creative aspect, focusing on a more
obscure and contemplative angle of the design.
But that has
obscured the
fact that he's made some of the great works of
art in the last half century.
Does this partly account for the peculiar
fact that, despite its obvious significance — and its inclusion in such landmark exhibitions as «Primary Structures» at New York's Jewish Museum in 1966 and «When Attitudes Become Form» at Kunsthalle Bern in 1969 — his
art can almost be described as
obscure?
Peter Coffin, whose practice includes photography, assemblage, performance, time - based media, installations, sound
art, and sculpture in many forms, often uses
art history, odd
facts or
obscure theories as a departure point for his surreal reinventions.
Unapologetically the writings of an artist, not a critic, in Georges Braque & Others, Winkfield engages some of the greatest names in
art (Vermeer, Chardin, Signac, Ryder, Dadd, Brancusi, Cornell, Duchamp, Johns and of course Braque, among others)-- asking questions, seeing the details and sharing the
obscure facts that only an artist like Winkfield could notice and convey with such great charm.
The school's scrappy DIY aesthetics
obscured the
fact that in a short time the members of the Bruce High Quality Foundation had become
art world insiders.
Directly following a series of solo exhibitions in Europe and barely in advance of his exhibitions at the Zitadelle in Berlin and the Baker Museum in Florida,
Obscure Line Between
Fact and Fiction not only indicts contemporary culture's media - driven simulacra,
obscuring a perception of the real, but also and moreover, in painting, multi-media, and sculptural form, sounds a stirring battle cry against the miscarriages of justice of the early 21st century through an expressive and engaged aesthetic, arguably unseen in American
art since Rauschenberg or Basquiat.