Sentences with phrase «by modernism at»

Ever feel that you are just as disgusted by postmodernism at certain times as you are by modernism at other times, albeit for different reasons?

Not exact matches

The predominant mood of Protestantism at the turn of the century was positive, optimistic and liberal — and its leaders welcomed the modernism heralded by the new age: the spirit of rationality and scientific inquiry, the growth of social awareness, and the sense of an expanding world.

Cultural Studies of the sort exhibited by Institutions of Modernism is all the rage in American and English universities (Rainey teaches at the University of York in England).

Modernism at other times is downright scary: how can we persuade other people that what they want to do to us is barred by some unchallengeable moral absolute?

At its heart modernism represents the desire to be well thought of by the movers and shakers of the world.

No mention is made of the heresy of «Americanism» that was condemned as a form of modernism by Pope Leo XIII at the very end of the nineteenth century.

Says Hoover, «By appearing on and being part of television (secular modernism at its most profane), the 700 Club transcends the lower - class origins of the evangelicalism and fundamentalism out of which it springs.»

In order to force the spectator to be aware of the cinematic apparatus, Haneke creates a new route, differing at the same time from the classical narrative cinema, which suspends the spectator's awareness, the first - generation modernism of benign reflexivity, characterised by Chantal Akerman's cinema, and the second - generation modernism of aggressive reflexivity, exemplified by Jean - Luc Godard's Le Vent d'Est (1970).

And because it's by Caro, and because he's now dead (R.I.P.), and because it's a piece of art history merchandising already, and because it's the prestigious Pace Gallery; because of all this and more, and for no reason due to its inherent value, since it transparently has none, unless you view it through a thick haze of sentimental regret for simpler and more certain times in abstract art; this pathetic little piece of twaddle has become a luxury commodity, imbued with all the myths of modernism, reflecting back at us our own «good - housekeeping - modern - but - weren't - we - ever - so - radical - back - in - the - sixties» taste.

Text by Juliet Koss, Associate Professor of Art History at Scripps College in Claremont, California, is the author of Modernism after Wagner (University of Minnesota Press, 2010), a finalist for the College Art Association's Charles Rufus Morey Book Award, along with numerous essays on 19th - and 20th - century German and Soviet art, architecture, and related fields.

Editor's Note: This list was drawn in part from a 2014 seminar taught by Debra Bricker Balken in the MFA program in Art Writing at the School of Visual Arts titled Critical Strategies: Late Modernism / Postmodernism.

Text 2018 Ted Stamm Woosters, essay by Alex Bacon, Lisson Gallery, ISBN 978 -0-947830-67-0 2018 From Stasis to Kinesis: The Woosters of Ted Stamm by Robert C. Morgan, Art Critical, April 2018 2018 New York: Ted Stamm at Lisson Gallery by E. Macdonald, Art Observer, April 2018 2017 Ted Stamm: DRM 1980, The Estate of Ted Stamm and Karma, New York, ISBN 978 -1-942607-66-3 2013 Ted Stamm: Marianne Boesky by Robert Pincus - Witten, Artforum, Summer 2013 2013 Ted Stamm: Paintings at Marianne Boesky by Will Heinrich, Observer Culture, April 2013 2013 Revisions: Another Alan Uglow and Ted Stamm's Minimalisms by Saul Ostrow, Art Experience: New York City, 2013 2012 Times Square Show Revisited by Robert Pincus - Witten, Artforum, December 2012, pp 274-275 1997 Painting Advance Stamm 1990 (1989) by Robert C. Morgan, Between Modernism and Conceptual Art, 1997 Published by McFarland & Company, Inc., 1997, ISBN 0 -7864-0332-2 1990 Painting Speed by Tiffany Bell, Art In America, November 1986, pp 140-143 1990 Reconstructivism: Neo Modern Abstraction in the US by Peter Frank, Artspace, March / April 1990 1990 Rekonstructivisims: Neo Moderne Abstraktion in der Vereinigen Staaten by Peter Frank, Kunstforum, January 1990 1986 Ted Stamm Painting Advance 1990, essay by Tiffany Bell, Hillwood Art Gallery, C.W. Post College, curated by Per Haubro Jensen 1985 Constructures: New Perimetries in Abstract Painting by Peter Frank, essay for exhibition Nohra Haime Gallery 1984 Can Small Works Carry It Off by William Zimmer, essay for small works exhibit, Muhlenberg College, pp. 9 - 10.

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

Both DMA and Amon Carter have mounted major shows of Texas art over the past few years — Julian Onderdonk, Loren Mozley, and the current and timely «Alexandre Hogue: The Erosion Series» at DMA; and at the Carter, «Intimate Modernism: Fort Worth Circle Artists in the 1940s in 2008,» and more recently an ongoing gallery devoted to «Texas Regionalism,» soon to be replaced by «Lone Star Portraits.»

The two surveys developed independently but were precipitated by a boom in scholarship on Mexican modernism in recent decades, says Matthew Affron, curator of modern art at the Philadelphia Museum of Art, which co-organized Paint the Revolution with the Museo del Palacio de Bellas Artes, Mexico City.

Curated by Jessica Todd Smith, The Susan Gray Detweiler Curator of American Art and Manager of the Center for American Art at the Philadelphia Museum of Art, the museum have published an accompanying monograph, American Modernism: Highlights from the Philadelphia Museum of Art (2018).

It postpones his or her prospect of a showing at Tate Britain by a couple of decades, and can appear to consign them to the comfort zone of «Cornish Art»: the heritage Modernism of Barbara and Ben, Terry Frost, Patrick Heron et al, stuff we love (well, most of us) because it reminds us of being on holiday, but may feel, in our heart of hearts, to be more than a touch minor.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

In 1980 she joined the History of Art Department at the Open University as a Lecturer working on groundbreaking courses there and publishing essays in the Modernity and Modernism textbooks, published jointly by the Open University and Yale University Press in 1993.

Upcoming exhibitions and projects include Afro - Modernism: Journeys through the Black Atlantic at the Tate Liverpool; commissioned works for Locust Projects Miami and a monograph to be published by Name Publications.

2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print Center, New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering Gallery, New York

She has held various positions and fellowships at the Philadelphia Museum of Art, Mildred Lane Kemper Art Museum, Metropolitan Museum of Art, and Amon Carter Museum of American Art and has contributed to several publications, including the forthcoming essay «New Rugs by American Artists: Modernism, Abstraction, and Rug Design at MoMA.»

More recently the term «late modernism» has been redefined by at least one critic and used to refer to works written after 1945, rather than 1930.

The upcoming exhibition America's Cool Modernism: O'Keeffe to Hopper at the Ashmolean Museum tends to shed a new light on a mentioned period by questioning how the artists articulated modern life with all of its contradictions.

In the last two decades, work by Graves has been featured in a number of solo and group exhibitions, most notably Klange des Inneren Auges: John Cage, Mark Tobey, Morris Graves (Sounds of the Inner Eye: John Cage, Mark Tobey, Morris Graves) at the Kunsthalle Bremen, Germany and the Museum of Glass: International Center for Contemporary Art, Tacoma, WA (2002); Immeasurable Spaces, Incalculable Energies: Tobey, Graves, Callahan, Anderson at the Tacoma Art Museum, Tacoma, WA (2003); The Third Mind: American Artists Contemplate Asia, 1860 - 1989 at the Solomon R. Guggenheim Museum, New York, NY (2009); John Cage with Morris Graves and Mark Tobey at The Phillips Collection, Washington, DC (2012); and Modernism in the Pacific Northwest: The Mythic and the Mystical at the Seattle Art Museum (2014).

Recent exhibitions presented by the school include Drawing from the Archive: Analysis as Design (with additional support from the Graham Foundation for Advanced Studies in the Fine Arts), Drawing Ambience: Alvin Boyarsky and the Architectural Association (co ‑ organized by Museum of Art Rhode Island School of Design, Providence and the Mildred Lane Kemper Art Museum at Washington University in St. Louis, with additional support from the Graham Foundation for Advanced Studies in the Fine Arts), Paul Rudolph: Lower Manhattan Expressway (presented with The Drawing Center, New York), Lessons from Modernism (presented with the Institute for Sustainable Design, with generous support from the Stavros Niarchos Foundation), Massimo Scolari: The Representation of Architecture, 1967 - 2012 (organized by the Yale School of Architecture with additional support provided by the Graham Foundation for Advanced Studies in the Fine Arts, the Turner Foundation, and by Elise Jaffe + Jeffrey Brown), Bernhard Hoesli: Collages, Alternativas / Alternatives XIII Spanish Biennial of Architecture and Urbanism (co-presented with the Spanish Biennial of Architecture and Urbanism and presented in association with Archtober, Architecture and Design Month New York City, October 2016) and John Hejduk Works / Jan Palach Memorial (installation presented in conjunction with the New York City Department of Transportation's Arterventions Program).

When Bates was a boy, his mother brought him to art classes at the Dallas Museum of Art, where he was exposed to work by the Dallas Nine and Texas Regionalist painters such as Jerry Bywaters and Otis Dozier, artists who shunned the European stronghold on American modernism in the 1930s for vernacular landscapes of the Southwest.

L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley In 1983, art historian T.J. Clark delivered his paper, «More on the Differences Between Comrade Greenberg and Ourselves» at the Vancouver conference, Modernism and Modernity.

The exhibition will be accompanied by a catalogue by Richard Shiff, the Effie Marie Cain Regents Chair in Art and director of the Center for the Study of Modernism at the University of Texas at Austin.

To confuse matters, more recently the term late modernism has been redefined by at least one critic and used to refer to works written after 1945, rather than 1930.

Other scenes and sources originate from architects and designers who created their own softened versions of modernism, such as The Sonneveld House, a family home built by architects Brinkman and Van der Vlugt in 1933 in Rotterdam, or Eric Lyons?s 1950s Parkleys, part of the Span Housing scheme at Ham Common in London.

Additionally, the Black Artists and Modernism research group led by Professor Sonia Boyce, Dr. David Dibosa and Professor Paul Goodwin held a major conference (6 - 8 Oct) at Tate Britain and...

By the early 1920s, Henderson had expanded his aesthetic interests to incorporate the very latest directions in European modernism, which had received its sensational introduction in America not long before, at the 1913 Armory Show.

The event, the first of its kind to be hosted by the Barnes Foundation, will take place at the Foundation's Philadelphia campus and is designed to probe possible fresh approaches to Matisse's work, both with regard to his iconic works and within the larger context of the history of modernism.

Chicago Alums meet at a CU, CUAA Co-sponsored event, for a private tour of AR Prof Kevin Bone's Exhibit «Lessons from Modernism» at the Elmhurst Art Museum and curated by Mr. Steven Hillyer AR» 90.

The gallery with an installation by the Mozambique - born artist Ângela Ferreira, who looks at the influence of modernism in Africa, in a documentary spirit, «and is about as far from a traditional Marlborough artist as you could get,» Renton says.

At the outset of Modernism, geometric shapes in painting and sculpture were being foregrounded by the Western avant - garde — in Russia with the Suprematists and Constructivists, in Holland with the De Stijl movement, and in Germany with the Bauhaus < «p >

Modernism (724 Ellis St. www.modernisminc.com) has on view a museum - level selection of works by Edvard Munch (1863 - 1944), the Norwegian artist currently featured in a blockbuster exhibition at the San Francisco Museum of Modern Art.

Held in conjunction with the exhibition American Modernism: The Shein Collection, on view at the National Gallery of Art from May 16, 2010, to January 2, 2011, this public symposium provides an analysis of the paintings, sculptures, and drawings created by the first generation of American avant - garde artists.

Originally curated by Jeffrey Deitch in 1984 and mounted at Heller's former uptown space, this revived group exhibition tracks the connections between seemingly disparate traditions of graffiti, Modernism, and Middle - Eastern calligraphy.

You might learn the most about Latin American modernism at León Tovar, whose dark gray walls are hung salon style with bright, geometrically shaped paintings by the Venezuelans Francisco Salazar, Carlos Cruz - Diez and Jesús Rafael Soto; the Argentines Manuel Espinosa and Rogelio Polesello; the Colombian Jorge Riveros, and Carmelo Arden Quin, an Uruguayan artist.

«North Fork Modernism» is a solo exhibition of recent paintings by artist Colin Goldberg at The South Street Gallery in Greenport, New York from May 2 - 26,2014.

Hermann's parents, architects devoted to the Nordic Modernism, retained the ornate wallpaper at their country farmhouse, previously owned by Hermann's Grandmother.

The recent exhibition «Parapolitics: Cultural Freedom and the Cold War» at HKW interrogated the intertwined re-canonization of modernism and the international propagation of a US - backed, anti-communist idea of «cultural freedom» put forth by the many - armed Congress for Cultural Freedom (CCF) from 1950 — 1967.

Ms. Mulherin is taking her at - bat with a display of new paintings by Matt Kleberg, who complicates the parallel stripes of modernism with light and shadow, wilder colors and warped spaces that conjure abstract prosceniums and archways.

At the time I was making the paintings I was referring to them as «casualties», both for their casual nature, destructiveness, or deadness, and their play on the word «causality» â $ «looking back at history, being surrounded by modernisAt the time I was making the paintings I was referring to them as «casualties», both for their casual nature, destructiveness, or deadness, and their play on the word «causality» â $ «looking back at history, being surrounded by modernisat history, being surrounded by modernism.

By LEAH TRIPLETT In his Brooklyn Rail essay last spring How to Look at Postmodern Painting and Its Criticism, Irving Sandler described his witness to the death of modernism, and emergence of postmodernism.

We are not going to see the main exhibition at the Aishti Foundation until tomorrow but we visit the «secret» Aishti storeroom to look at an installation by Lebanese artist Walid Raad, who has painted storage boxes with easily identifiable iconic works of modernism including Jasper John's flag and Kenneth Nolan's bulls eyes.

By transforming the space at Tate Modern into a mosque, «Studio Jum» ah» challenges the idea of the artist's studio and gallery as exclusive sites of modernism, and reinvigorates their social function and purpose.

Other key works include: The Leonardo Notebook - two diagrammatic sketches from the celebrated Codex Arundel from The British Library; a beautiful view of Stonehenge at sunset by JMW Turner; three works by landscape painter and pioneer of Modernism in Britain Paul Nash; a film by Marina Abramovich and Ulay; another by Lindsay Seers; A Complicated Relationship between Heaven and Earth.