Sentences with phrase «artistic influences from»

Green begins: «The exhibition «No Pasaran» represents a life - long artistic journey by Patrick Jones, a journey which illustrates how he and his work have been affected by artistic influences from America and Europe.

The sequence of these paintings also does the critical work of art history, allowing viewers to trace a chain of artistic influence from Germany to the United States to India over the twentieth century — just by looking left to right.

Not exact matches

For De Palma, Obsession, Dressed to Kill, and Body Double are less the oft - accused rip - offs of previous Alfred Hitchcock films than rigorous reckonings with a burgeoning postmodern dilemma; not merely the «anxiety of influence,» to quote literary scholar Harold Bloom, but something more akin to outright agony, where questions of artistic lineage from the outside spool the proceedings within into a nightmarish phantasmagoria, the implications of which are still to be unraveled.

Judging from the trailer, it's clear that the film draws its influence from artistic works like M.C. Escher, Inception, The Matrix and other twisty mind - benders.

As an artistic influence on everything from fashion to music, Tron has created a cultural cosmos we now term its «legacy».

Along the way, Chan worked in a variety of genres, from superheroes to funny animals, and emulated his western artistic influences, including the British science fiction strip Dan Dare, Pogo, and MAD — all brilliantly mimicked by Liew, who convincingly replicates yellowing comic books, sketchbook fragments, newspaper clippings, and other media.

The town owes much of its artistic inspiration and architectural splendour to the influence of Venice, which ruled Bergamo from the 15th to the 18th century.

This was the initial spark behind the Ubud artistic community and has, over the years grown into an internationally famous scene with the influence and presence of influential people from the world over.

The world of Xenoblade Chronicles 2 is beautiful, showcasing a range of artistic influences ranging from Ghost in the Shell to Studio Ghibli.

Here, she talks to Tim Marlow, Artistic Director, about how Rubens has influenced artists from De Kooning to Sarah Lucas.

Influence from Nell Blaine redirected his artistic endeavors to study with Hans Hofmann and this led to developing creative relationships with Jane Freilicher, Louisa Matthíasdóttir and Frank O'Hara.

Untitled (Seated Figure)(c. 1950) encapsulates the beginnings of this experimental shift from figuration to abstraction, and also shows the influence of artistic discussions between Tworkov and Willem de Kooning, a close friend and studio neighbor.

Explore how observation of animal behavior influenced religious belief, artistic production, and daily life from ancient America to contemporary Africa in this three - day workshop for teachers on June 5 - 7.

The exhibition will not be installed chronologically; historic artworks will be juxtaposed with recent and commissioned artworks that relate to each other through influence from previous decades and artistic intention.

Frazier's influences range from Jacob Riis, Lewis Hine, and Farm Security Administration photographers to self - portraitists Frida Kahlo and Claude Cahun, as well as cultural theorists bell hooks and Michele Wallace and urban geographer David Harvey, all of whom she cites as part of her «artistic family lineage.»

Most intriguingly, though, they also generate something else: a shadow family tree of the art world, where artistic influence can be seen transferring from one generation to the next.

Born in Manchester, England, to Nigerian parents in 1968, both his personal narrative and artistic development have benefited from important creative figures who have inspired and influenced his life, Adjaye among them.

Tracing the influence of abstraction through society and politics over the past century, the exhibition stands in ardent defence of the artistic practices of Malevich and his contemporaries, an ambitious attempt to corroborate his rebuttal from more than 80 years ago that «the Black Square is real life.»

Then came Athens, the city I chose to live and work in to this day, where it comes as no surprise that all these influences derived from the core of my oeuvre and, surely, my visual lexicon and artistic practice.

Thirty years after graduating from the School of Art + Design, Julie presents a new series of works that reflect on how the modernist architecture of the campus and its utopian ideals influenced her artistic practice.

In addition to pivotal works by Noguchi, the exhibition illuminates his relationships through personal photographs, exhibition - related ephemera and correspondence from The Noguchi Museum Archive, as well as sculptures, paintings and drawings by those who influenced his artistic practice.

This summer and fall, Norman Rockwell Museum will present the first exhibition to examine the artistic and cultural influence of these celebrated image - makers and the continued influence of their indelible legacies — Inventing America: Rockwell and Warhol is on view at Norman Rockwell Museum from June 10 through October 29th.

That Mammen absorbed and worked with the dominant artistic styles of the time was obvious even from her early years in Paris and Brussels, and some of the earliest works in the exhibition — shown in the final room so as to contrast with some of her last — demonstrate the influence of symbolism and aestheticism.

The extraordinary range of artistic styles and subject matter illustrates the rise and development of the still - life genre in post-revolutionary America, from European - influenced realism and trompe l'oeil to Impressionism, Modernism, Pop Art, and beyond.

«It's the perfect moment to revisit Rauschenberg's career, given that his impact continues to gain momentum as more and more contemporary artists pay homage to, and are influenced by, various facets of his creative practice and artistic production — from his technology - based artworks and the reuse of images to international collaborations that demonstrated the power of art to spark dialogues between various cultures,» stated Christy MacLear, CEO of the Rauschenberg Foundation.

Because of this sudden surge of»80s influence in other artistic mediums, I began to wonder if particular artistic styles, movements and overall aesthetic from the decade are expressed in the works by artists today.

The collection reflects the influence in naturalism stemming from European artistic traditions.

Focusing primarily on recent work from the past decade, the exhibition features rarely shown international projects that trace the collective's artistic and activist influence around the globe.

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

From Jeff Koons to Damien Hirst, Elizabeth Peyton, Robert Mapplethorpe, Ai Weiwei or Takashi Murakami, Andy Warhol's artistic influence spans several generations.

8 October: On the Origin of Art at Lubomirov - Easton — Getting inspiration from Darwin's The Origins of Species, the artist gives his personal interpretation of the origin of art, mixing different artistic influences.

The six institutions were selected for their established interest in studying and featuring contemporary art from Latin America; the regional influence of their art collections, exhibitions, and programs; and for serving as important references for an international artistic community.

Neo-Dada, Post painterly abstraction, Op Art, hard - edge painting, Minimal art, Fluxus, Photorealism, and Conceptual art came afterwards, mixing up the influences from both sides and proving that the US has become a veritable artistic melting pot.

The most outspoken «experts» on the painting of Morris Louis discuss his work as if it grew in total isolation from artistic influences, and, hence, has no art historical past.

As he elaborates on their similarities and differences in accordance with his rejection of residual European influences in favor of the new application of fabricated objects and industrial products, we realize that his argument is part of his greater advocacy for the works of the artists of his generation (similar to what Clement Greenberg wrote a decade earlier in 1956, in his equally significant essay, «American - Type Painting»), and further deriving from his own artistic output at the time.

«Insight, inspiration and influence from one of modern America's true artistic visionaries... For many, it's almost incomprehensible to imagine art after World War II in a world in which Stella never existed... This book charts his extraordinary career... The detail is fantastic, the insight never seen before, and the presentation is a masterpiece in itself... A great entry point for anyone wanting to learn more about Stella or minimalism and post-painterly abstraction in general... A perfect compilation [and] something that both a hardcore aficionado an a keen modern art student would get a lot out of... This book is big, bold and beautifully laid out.»

 While the question of artistic influence may not be new, what artists choose to borrow or steal, and from whom, is distinct in that it becomes a reflection of their own time. Beg Borrow and Steal presents artists» attempts to build on the legacies of their predecessors as they present their own new ideas.

The show reflects the deep understanding the curator has of the artist's work that is needed to provide an informative framework of her artistic practice and development — from Ay Tjoe's graphic influences to her beautifully colorful oil canvases.

Over the past number of years, his work has been included in seminal exhibitions from LA MoCA's Helter Skelter (1992), the Hammer's Nine Lives: Visionary Artists From L.A. (2009), to the Venice Biennale (present) which has brought a growing awareness and clarity to the wide range of his influence and the powerfulness of his unique artistic territfrom LA MoCA's Helter Skelter (1992), the Hammer's Nine Lives: Visionary Artists From L.A. (2009), to the Venice Biennale (present) which has brought a growing awareness and clarity to the wide range of his influence and the powerfulness of his unique artistic territFrom L.A. (2009), to the Venice Biennale (present) which has brought a growing awareness and clarity to the wide range of his influence and the powerfulness of his unique artistic territory.

Presenting a selection of works from this year's Young Masters prize, as well as established artists represented by Cynthia Corbett, Over-Seas House's exhibition celebrates artists that are influenced by the artistic traditions of the past.

Dozens of amazing artists are linked with this essential postwar European art movement that had influenced a number of other artistic movements and styles from 1950s.

Her works refer to cultural, religious and artistic influences, from Afro - Cuban and indigenous Caribbean traditions to Catholicism, to conceptual art and post-minimalism.

Over the course of three years, the artist and Walker Executive Director Olga Viso delved into Hodges» life, artistic practice, and influences, touching on topics prevalent in his work, from love and politics to language, spirituality, and mortality.

Arp influenced many artistic developments of the 20th century from abstraction and surrealism, to constructivism.

Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron of ideas about action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage's intellectual Zen advances, Rosenberg's painting as an action, the Janis Gallery Dada show, and the Stable Gallery exhibition of his very own White Paintings.

Following the war, Nuvolo moved to Rome where, in Burri's studio, he began to develop his own artistic practice, under the influence of artists who shared his interest in a progressive departure from the use of the paintbrush toward an engagement with unconventional materials and techniques.

The formative influence and example of Marcel Duchamp, as an artistic hero of Ai's discovered during his period living in New York from 1983 — 93, also looms large.

Guston's existentialist canvases, which some found cartoonish or crude, are saturated with the influence of Italy's cultural and artistic heritage: from ancient and modern cityscapes that populate his Roma series, to references from Federico Fellini's films, his work is indebted to the Italian masters, Masaccio, Piero della Francesca, Giotto, Tiepolo and De Chirico to whom he pays tribute to in «Pantheon» (1973).

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 work.

Now for his solo show at OUTLET, Berman brings us splices of artistic cultural influence from Japanese Ukiyo - e prints to Aztec myths, with an interplay between fact, memory and fiction, reflecting upon his own history of displacement and relocation.