Sentences with phrase «by art historians as»

Although he is classified by art historians as a Pop Artist, he differs from Andy Warhol and Roy Lichtenstein in that his subject matter has close affinities with Dada and Surrealism.

His painting style and subject matter, while derived from the romanticism of the time, is regarded by art historians as a significant departure from that of his peers.

His approach — aligned with the practices of his Californian contemporaries Larry Bell and DeWain Valentine, among others — was described by art historians as the «L.A. finish fetish.»

This was a radically different approach that created paintings without a specific focal point, something often referred by art historians as an «all - over composition».

Not exact matches

Art historians have long been intrigued by Rembrandt's appropriation of certain Rubensian themes and pictorial types, but Schama makes this the centerpiece of his argument, as if the primary motivating force of Rembrandt's career was to imitate, emulate and eventually get the better of Rubens.

Limbaugh could have stanched the bleeding by practicing what historian Susan Wise Bauer has described as «the art of the public grovel.»

Kimball brings to our attention such paintings as Courbet's The Quarry, Sargent's The Daughters of Edward Darley Boit, Rubens» Drunken Silenus, Homer's The Gulf Stream, and others, and examines the interpretations of them offered, or rather perpetrated, by some leading art historians, such as David Lubin of Wake Forest University and Albert Boime of the University of California at Los Angeles.

His is «an older, tougher town,» one remembered by Italians, as I discovered on a visit there this summer, but hidden to eyes tutored by art historians.

And big compliments to your photographs — they are just awesome... As an art historian, i'm always seduced by great pictures and I «eat» them as well; — RRB --RRB- All are great, but the first one is super cooAs an art historian, i'm always seduced by great pictures and I «eat» them as well; — RRB --RRB- All are great, but the first one is super cooas well; — RRB --RRB- All are great, but the first one is super cool!

The work began when HRPT hired historian and architect John Reddick as the project's art consultant and Studio Hip Landscape Architecture, a three - person Manhattan firm, according to records obtained by Gay City News under the state Freedom of Information Law from the Cuomo administration, the state parks department, and the Hudson River Park Trust (HRPT), which operates the park that extends from West 59th Street to Battery Park.

It feels like production has gone on as long as World War II itself for The Monuments Men, George Clooney's film about a platoon of soldiers comprised of art historians and experts tasked with the job of saving irreplaceable and priceless artwork from getting destroyed by the Nazis.

English landscape painter JMW Turner, commonly exalted as «the painter of light», was one of the great artists of the 19th century, his work considered by art historians something of a precursor to the impressionist movement.

Edsel's historical source material chronicles the efforts of the «Monuments Men»: a group of American and British art historians / museum curators who rally to recover art stolen by the Third Reich before it is destroyed — as members of Hitler's regime rush to cover their tracks during the final days of WWII.

So undefined and eccentricity - free are these men and women that their pre-film status as art historian and university lecturers is implausible, even unthinkable: When Blanchett's curator offers Damon the mother lode of archival keys, a little journal with index numbers matched to stolen artifacts, he seems surprised by the very idea of librarianship.

The group known as «The Monuments Men» consists of various architects, art historians, and curators who are not fit for war by any means.

Arranged chronologically, the masterpieces are accompanied by seven comprehensive essays by art historian Ross King, as well as shorter discussions by art history professor Anja Grebe of the University of Freiburg in Germany.

The title is a clever updating of «Painting as Model,» the name of a famous 1993 book by art historian Yve - Alain Bois, sped up to the pace of the 21st century.

Body and Matter is accompanied by a fully - illustrated exhibition catalogue, Body and Matter: Kazuo Shiraga Satoru Hoshino, featuring poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

An accompanying monographic catalogue was published in 2018 by David Zwirner Books, including new scholarship on Asawa's groundbreaking body of work by art historian Tiffany Bell, as well as an essay by Robert Storr, and an illustrated chronology.

In his review of the exhibition in The New York Times, Holland Cotter writes, «the grid as a form gets an impressive pre-Minimalist workout in 1940s room dividers made of cellophane and horsehair by the incomparable weaver, printmaker, art historian, philosopher, teacher, theorist and life - student Anni Albers.»

And in between (literally), at Kai Matsumiya, is a kind of palette cleanser in the display of Rainer Ganahl's wonderfully random photographs of art world lectures being given by such luminaries as the art historian Linda Nochlin and the performance artist Andrea Fraser.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

In a provocative article titled «The Curious Case of Contemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisArt Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artisart historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artists.

Italienische Landschaft belongs to the group of early photo - paintings of faraway places that art historian Dietmar Elger specifically highlighted as exemplary for the dichotomy they presented «between the objectifiable distance generated by black and white painting and the artist's personal interest in the motifs» (Dietmar Elger, Gerhard Richter Landscapes, exh.

Womanhouse was conceived by a member of Chicago and Schapiro's program staff, art historian Paula Harper, who The New York Times celebrated as «the first [of] art historians to bring a feminist perspective to the study of painting and sculpture.»

An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.

This group of exclusively male artists were often referred to as action painters, a term coined by Modernist art historian Robert Rosenblum, referring to the abstract, gestural painting style.

B.A., Amherst College; creates An Image of Salomé for his senior thesis project, which is published by the artist and printed at Apiary Press, run by Baskin's students at Smith College; meets and becomes good friends with Baskin's assistant George Lockwood, who would later found Impressions Workshop in Boston; marries Gail Beckwith (later, the poet Gail Mazur), who was then a student at Smith College; begins graduate study at School of Art and Architecture, Yale University, New Haven; studies with Gabor Peterdi, Bernard Chaet, William Bailey, Rico Lebrun, Sewell Sillman, Neil Welliver, art historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and BailArt and Architecture, Yale University, New Haven; studies with Gabor Peterdi, Bernard Chaet, William Bailey, Rico Lebrun, Sewell Sillman, Neil Welliver, art historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailart historian Egbert Haverkamp - Begemann, and Asian - art historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailart historian Nelson Wu, as well as with visiting artists Fairfield Porter and John Scheuler; makes regular Thursday trips with other students to Peterdi's home / studio; works as a teaching assistant for both Peterdi and Bailey.

It features essays by BMA Senior Curator of Contemporary Art Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang TillmaArt Kristen Hileman; art historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmaart historian and activist Jonathan David Katz; and critic, curator, and artist Robert Storr; as well as an interview with Waters by artist Wolfgang Tillmans.

The Boiler Room started in the summer of 2012 as a curator run project room for contemporary art by the Swedish born Art historian and curator Joakim Borda - Pedreiart by the Swedish born Art historian and curator Joakim Borda - PedreiArt historian and curator Joakim Borda - Pedreira.

Kat has won many awards for her art including Gold for Best of the Best East End Artist in 2016 and 2017 and The Award of Excellence by Juror Karen Marks, Director of Manhattan's Howard Greenberg Gallery, one of the world's leading photography galleries as well as Juror Dr. Naomi Rosenblum, eminent photographic historian and Juror Jennifer McGregor, Director of Arts and Senior Curator at Wave Hill Cultural Center.

Richard Deacon The curling, curving forms of Richard Deacon's sculptures might be seen by some future art historian as analogous with contemporary physics.

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

Co-curated by Alfred Pacquement, former director of the Centre Pompidou, it will be accompanied by a fully - illustrated catalogue with essays by Mr. Pacquement and Robert Storr, art historian and Dean of the Yale School of Art, as well as an introduction by the artist's widow, Zsuzsa Hantart historian and Dean of the Yale School of Art, as well as an introduction by the artist's widow, Zsuzsa HantArt, as well as an introduction by the artist's widow, Zsuzsa Hantaï.

On the occasion of facade suspended, a conversation between Yvette Mutumba (co-curator Berlin Biennial 2018 and editor - in - chief of the art magazine C &) and Pothoven will be published, as well as a text by historian and journalist Roeland Muskens (author of: On the right side, a biography of the Dutch anti-apartheidsmovement 1960 - 1990).

Frowned upon by generations of art historians as the last expression of irrationality (as opposed to perfect perspective) the primitive painters played a pivotal role in bridging Medieval styles with the resurgence of classicism characteristic of Renaissance artists and architects.

As feminist art historians Helen Molesworth, Lisa Tickner, and Mignon Nixon have pointed out, the history of art made by women is a history of omission.

Considered in terms of the social history of American art, however, he's an important figure, because, as the art historian David Driskell writes in the exhibition catalog, he was «among a small number of African - American painters in the nation working abstractly at the time, and he was among the few artists of color who were represented by a mainstream gallery in New York.»

A fully illustrated catalogue has been published in conjunction with the exhibition, presenting the original essays by Mel Bochner from 1967 and John Coplans from 1968, as well as a history and analysis of Serial Art by art historian Mark Gisbourne, commissioned specifically for the exhibitiArt by art historian Mark Gisbourne, commissioned specifically for the exhibitiart historian Mark Gisbourne, commissioned specifically for the exhibition.

Both of these acclaimed retrospectives have been appropriated by institutions and art historians for curatorial concepts, such as for the eponymous show From Surface to Space on Malevich at the Staatliche Kunsthalle Baden - Baden in 2008.

In theoretical explorations by art historian Paulo Herkenhoff and Augustus Klotz, cannibalism is seen as a philosophical process of renewal and regeneration, as well as a form of cultural emancipation.

Arriving unaccompanied at the institution's silvered Wooster Street digs — formerly Jeffrey Deitch's HQ, as if any reminder were needed — I was immediately buttonholed by intense art historian Lorena Morales Aparicio, who filled me in on the subject of her doctoral thesis - in - progress, contemporary Swiss touchstone Pipilotti Rist.

Founded in 1977 as a radical gesture by art historian and curator Marcia Tucker, the New Museum began as an alternative model of museum practice.

Curated by Kate Sutton, this year's theme, Borderline, focuses on the comprehensive changes that European cultural institutions face on a political, social, and cultural level as seen from the perspectives of artists, art historians, international collectors, museum directors, dealers, critics, and curators.

Organized by Rhizome's Artistic Director, Michael Connor, Brushes convenes artists Laura Brothers and Andrej Ujhazy, art historian Alex Bacon, and others to explore digital painting as a practice for screen - based display and online circulation, against the backdrop of a current surge of interest in digital painting for the gallery.

Postminimalism (a term coined by art historian Robert Pincus - Witten while writing on the work of the American sculptor Eva Hesse) was emerging as anexpansive response to the austere, hyper - masculine materials and methods employed by mostly male artists who eschewed the symbolic in favor of literal, pure forms.

The catalogue includes a text by Brandon as well as contributions by Nick Robins, author of The Corporation that Changed the World: How the East India Company Shaped the Modern Multinational (Pluto Press, 2012); art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 201art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 201Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 2014).

Later described by art historian Herbert Read as «the most revolutionary event in post-war British art», this experimental period saw Pasmore's work progress towards a new pictorial language and representation of reality.

Organized by The Clark Art Institute, in Williamstown, MA, As in Nature: Helen Frankenthaler Paintings, curated by art historian Alexandra Schwartz and accompanied by a catalogue, focused on nature as a longstanding inspiration over five decades of woArt Institute, in Williamstown, MA, As in Nature: Helen Frankenthaler Paintings, curated by art historian Alexandra Schwartz and accompanied by a catalogue, focused on nature as a longstanding inspiration over five decades of worAs in Nature: Helen Frankenthaler Paintings, curated by art historian Alexandra Schwartz and accompanied by a catalogue, focused on nature as a longstanding inspiration over five decades of woart historian Alexandra Schwartz and accompanied by a catalogue, focused on nature as a longstanding inspiration over five decades of woras a longstanding inspiration over five decades of work.

Featuring artists and art historians Cecily Brown, Emmelyn Butterfield - Rosen, and Nick Mauss, and moderated by Jutta Koether, this panel will consider different methods of reading Florine Stettheimer's work, through the lens of social and cultural history, or as an alternative example of modernism, creating its own series of networks from within.