Sentences with phrase «by radical artists»
The exhibition brings together seminal works by radical artists who came to prominence in the late 1960s and early 1970s, alongside works by younger artists from Amsterdam, Belfast, Lisbon, Glasgow and London.
http://www.contemporaryartsociety.org/ Not exact matches
When Andrew decides to contribute a film to the Humpday fest (a real - life amateur porno festival sponsored by Seattle alternative weekly The Stranger), a piece of art that will «push boundaries,» Ben proposes (in front of a crowd of artist - types) that the two of them — two straight men — have sex on camera as a radical performance piece.
(The radical makeup work is by artist Kazuhiro Tsuji.)
«Infinite Comics» in particular incorporates some of the most radical approaches to digital storytelling in the industry, combining the theories articulated by Scott McCloud and the mind - blowing practices of the French artist Yves «Balak» Bigerel.
boasts a collection of twelve tracks from cutting - edge artists including Algiers, Radical Face, Timber Timbre and Hozier as well as time - honored classics by Bobby Darin, Gordon Lightfoot and a slowed - down version of «Jolene» by the legendary Dolly Parton.
Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the modernist tradition.
Produced in a basement flat in London's Notting Hill Gate by three editors, Richard Neville, Jim Anderson and Felix Dennis, the magazine was renowned for its psychedelic covers by pop artist Martin Sharp, cartoons by Robert Crumb, radical feminist thought by Germaine Greer and provocative articles that called into question established norms of the period.
These artists entered the canon under the heading of «institutional critique,» and many of their once - radical ideas have been thoroughly embraced by art organizations.
The most authentic statement of Manet's sense of his situation as a man and as an artist may well be his two versions, painted in 1881, of The Escape of Rochefort, in my opinion unconscious or disguised self - images, where the equivocal radical leader, hardly an outright hero by any standards, is represented in complete isolation from nature and his fellow men: he is, in fact, not even recognizably present in one of the paintings of his escape from New Caledonia.
Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.
Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.
RADICALS II At the Brooklyn Museum in April, a smaller exhibition, «We Wanted a Revolution: Black Radical Women, 1965 - 85,» organized by the museum's Elizabeth A. Sackler Center for Feminist Art, came with work by more than 40 artist - activists and a dynamite sourcebook - style catalog.
Yves Klein (1928 — 1962), was a conceptual artist par excellence, a radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely more: a believer living in his own sense of the divine», whose diverse practice included ephemeral works in his quest for immateriality.
Rail: Most of us who have followed your work for a while know that you identify with the experimental spirit and radical politics of the»60s and»70s, especially feminism, as seen in the works made by artists such as Joan Semmel, Howardena Pindell, Louise Fishman, and Harmony Hammond.
The exhibition is inspired by the eponymous 1976 feature film by the radical Austrian artist VALIE EXPORT, and is built around its themes.
The exhibition is co-curated by Benno Tempel, Director of the Gemeentemuseum Den Haag, with curator Jet van Overeem, presents a radical new reading of the artist, which reflects the clarity and scholarship of Hans Janssen, the Gemeentemuseum's Mondrian Curator since 1991, and a world expert on Mondrian and De Stijl.
Inspired by the radical changes of the 1980s, 1990s, and the new millennium, this new wave of Chicana artists, including Judy Baca, Diane Gamboa, Camille Rose Garcia, Yolanda Gonzalez, Judithe Hernandez, Patssi Valdez, Linda Vallejo and more introduced remarkable artistic philosophies and methodologies into the art historical canon.
«Radical Vaudeville» «Radical Vaudeville» will be a big group show of paintings, drawings & sculpture by newly emerging as well as established mid-career artists — opens July 22 — August 13, 2005
Our artist selection wan't at all determined beforehand by principal — but organically worked out that way as part of a natural but still complex artist selection & review process — although I believe it would have made it all far more radical to Alloway if it was first determined that way by principal.
It is at once radical, original and very beautiful, with works by some of the greatest artists, from Albrecht Dürer and Leonardo da Vinci to Hans Holbein and Rembrandt; present - day exponents of the medium include Bruce Nauman and Jasper Johns.
«Honestly, I think it's boring to say this moment was just the next generation of Pop art,» Jetzer said, noting these artists were fueled by radical political, economic and technological shifts, which prompted them to reassess how art itself functioned in the growing culture of consumerism.
His notion that movement, sound and visual art could share a «common time» remains one of the most radical aesthetic models of the 20th century and yielded extraordinary works by dozens of artists and composers, including Charles Atlas, John Cage, Morris Graves, Jasper Johns, Rei Kawakubo, Robert Morris, Gordon Mumma, Bruce Nauman, Ernesto Neto, Pauline Oliveros, Nam June Paik, Robert Rauschenberg, Frank Stella, David Tudor, Stan VanDerBeek, Andy Warhol and La Monte Young, among many others.
Reviled by some at the time, that year's Whitney Biennial laid the groundwork for much of the intellectual landscape artists have explored since then because it was seen at the time as such a radical departure from previous Biennials due to the fact that the exhibited work was much more conceptual and politically charged than previous incarnations.
On the one hand, Darboven's oeuvre is defined by the contrast between a programmatic mechanization of aesthetic production procedures, and, on the other hand, by radical cross-references to the artist's own biography and personal identity.
The East End of Long Island has a cultural history that's both «traditional and radical,» a phrase critic and artist Fairfield Porter used to describe Jane Freilicher's painting that was quoted in a recent remembrance of her by the Parrish's chief curator, Alicia Longwell.
2017 Third Space: Shifting Conversations about Contemporary Art, Birmingham Museum of Art, Birmingham, AL We Wanted a Revolution: Black Radical Women, 1965 — 85, Brooklyn Museum, Brooklyn, NY; California African American Museum, Los Angeles, CA; Albright - Knox Art Gallery, Buffalo, NY; Institute of Contemporary Art, Boston, MA Magnetic Fields: Conversations in Abstraction by Black Women Artists 1960 - Present, Kemper Museum of Contemporary Art, Kansas City, MO; National Museum of Women in the Arts, Washington, DC; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL Approaching Abstraction: African American Art from the Permanent Collection, La Salle University Art Museum, Philadelphia, PA 20/20: The Studio Museum in Harlem and Carnegie Museum of Art, Carnegie Museum of Art, Carnegie Institute, Pittsburgh, PA Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY MIDTOWN, Salon 94 at Lever House, New York, NY
There, he revealed his deep passion for performative practices and so - called «outsider» artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artists.
The previous exhibitions in the series included an exploration of portraiture by Brooklyn - based Artist Hope Gangloff (September 6 — December 1, 2013) and an exploration of still - life by Portland - based artist Jessica Jackson Hutchins (December 14, 2013 — March 16, 2014)-- both using the Broad MSU historic collection to view each field through radical new perspecArtist Hope Gangloff (September 6 — December 1, 2013) and an exploration of still - life by Portland - based artist Jessica Jackson Hutchins (December 14, 2013 — March 16, 2014)-- both using the Broad MSU historic collection to view each field through radical new perspecartist Jessica Jackson Hutchins (December 14, 2013 — March 16, 2014)-- both using the Broad MSU historic collection to view each field through radical new perspectives.
We will also be including a work by the Austrian artist Gerwald Rockenschaub whose basic working method follows the principle of radical reductionism.
The 2017 fair will also feature a new themed gallery section devoted to the legacy of radical feminist artists, organized by Alison M. Gingeras (independent curator); and curator Ruba Katrib (SculptureCenter, New York) will co-advise on the Focus section dedicated to emerging galleries.
They are combined with works by four contemporary artists, that not only show stylistic similarities to the distinctively white works from half a century earlier, but also a shared appetite for radical new ways to make art.
In London, the radical artist Susan Hiller is represented by the super-smart — you might even call it Sloaney — Timothy Taylor Gallery in Mayfair, a place I find mildly intimidating.
Other contributions analyze and document particular works by the artists of And / Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, among others, including an essay by Michael Wang on Ryan Trecartin.
In recent years, radical experiments by artists such as Robert Rauschenberg, Claes Oldenburg, and Richard Serra have pushed to the breaking point the very definition of the medium.
by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Rigartist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!
Brooklyn Museum's «We Wanted a Revolution: Black Radical Women, 1965 - 85» reorients the conversation around race, feminism, political activism and art during the emergence of second - wave feminism by highlighting the often dismissed work of women artists of color.
Hancock's work has also been included in a number of significant group exhibitions, including Juxtapoz x Superflat, curated by Takashi Murakami and Evan Pricco, Pivot Art + Culture, Seattle, WA (2016 - 17), Statements: African American Art from the Museum's Collection, Museum of Fine Art, Houston, TX (2016), When the Stars Begin to Fall: Imagination and the American South, The Studio Museum in Harlem, New York, NY (2014), Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston, Houston, TX (2012), The Best of Times, The Worst of Times: Rebirth and Apocalypse in Contemporary Art, Kiev International Biennale of Contemporary Art, Armory, Kiev, Ukraine (2012), Wunderkammer: A Century of Curiosities, Museum of Modern Art, New York, NY (2008), Darger - ism: Contemporary Artists and Henry Darger, American Folk Art Museum, New York, NY (2008), Political Nature, Whitney Museum of American Art, New York, NY (2005), Whitney Biennial, Whitney Museum of American Art, New York, NY (2002), Whitney Biennial, Whitney Museum of American Art, New York, NY (2000).
Moreover, it will exemplify the pivotal roles that the galleries played in showcasing works by radical female artists of the time.
A few months ago, a friend pulled off her bookshelf a new appropriation work by Richard Prince, one so radical and so daring, that I almost couldn't believe it was by the same artist.
Others, such as Jack Bush, and younger artists such as Oscar Cahén, Walter Yarwood, Harold Town and William Ronald, were by the end of the 1940s actively developing more radical solutions, looking to European and, in particular, New York painting.
The immersive exhibition was deemed radical and progressive by many in the art world, and it launched the careers of a generation of Australian artists including Sydney Ball, Janet Dawson, Peter Booth and Robert Hunter.
Invisible Adversaries is inspired by the eponymous 1976 feature film by the radical Austrian artist Valie Export.
A new feature length film by the artist Luke Fowler, following his celebrated works What You SeeIs Where You're At (2001) and Bogman Palmjaguar (2007), this is the third of Fowler's works totake up the legacy of radical psychiatrist R.D. Laing.
BLACK AND BLUR — writings by Fred Moten on artists and musicians, including Charles Mingus, David Hammons, and Glenn Gould — is the first volume of CONSENT NOT TO BE A SINGLE BEING, a trilogy of essays published in the fifteen years since In the Break (2003), Moten's landmark investigation of jazz, sexual identity, and radical -LSB-...]
It also came just as the organizer of Radical Presence, Contemporary Arts Museum Houston senior curator Valerie Cassel Oliver, was preparing to open the first installment of Black in the Abstract, a two - part exploration of abstract painting by black artists, as part of CAMH's six - exhibition, two - installment abstraction extravaganza, Outside the Lines.
The artist has also participated in several group exhibitions, including Engender at Kohn Gallery, Los Angeles, 30th Anniversary Exhibition, Part Deaux, at Jack Hanley Gallery, The Edge of Doom at H I L D E, Los Angeles, Human Condition at John Wolf, Los Angeles, American Optimism at Able Baker Contemporary, Portland, Fathoms at Radical Abacus, Sante Fe, On Painting at Kent Fine Art, New York, Friend of the Devil at Jack Hanley Gallery, Immediate Female at Judith Charles Gallery, A Thing of Beauty at Geoffrey Young Gallery in Great Barrington and New Paintings By at Jack Hanley Gallery.
While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practice.
The term was coined by Italian art critic Germano Celant and introduced in Italy during the period of upheaval at the end of the 1960s, when artists were taking a radical stance.
Author Christian L. Frock notes, «Though it seems unlikely that corporate benefactors will support politically potent, radical, or controversial artworks, perhaps the support leveraged by these popular and populist «public art» opportunities will allow artists to engage in work that challenges us to think -LSB-.....]
The exhibition is curated by Alison Gingeras, and it examines the work of four radical feminist artists active since the 1970s.