Matthew Ronay's first major museum presentation in the United States surveys a recent body of meticulously hand - crafted and vibrantly colored sculptures, reliefs and installations that deliver a phantasmagoric vision of physical and psychic processes fueled
by visual traditions and conventions in art, science, and popular culture.
Not exact matches
When you look at the artwork that David Gentleman did for the Stop the War campaign, which was chaired
by Corbyn, or simply the sharply designed logo of his leadership campaign, you can see something of this older
visual tradition of public relations in the UK.
There's no mistaking you're still in the Marvel universe here, but this entry sweeps you off to a part of it you've never seen: a hidden lost world in Africa defined
by royal
traditions and technological wonders that open up refreshing new dramatic,
visual and casting possibilities.
Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as
visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best
by the «
Tradition of Quality» boys.
Wielding a palette of colors and
visuals unseen to this point inside the MCU — this set design is glorious, situating a SciFi tech metropolis easily within a world that still embraces ancient
tradition, an isolated world that evolved in its own course rather than being led
by the evolution of the world outside.
Peanuts Movie does not capitalize on the nostalgic goodwill we share for this universe, the timing of a November opening to invoke the holiday most closely identified with the franchise, the rich
tradition of jazz score provided
by Vince Guaraldi (who is briefly played) and David Benoit over the years (it repeatedly drops in original Meghan Trainor pop songs instead), or the
visual possibilities afforded
by CGI and 3D.
These traditional landscapes — historically photographed
by men — act as metaphor for a male view, and through this the feminine metaphor of the «red dot» emerges and creates a
visual enigma which deliberately defies this
tradition.
The game continues the
tradition of hack - and - slash side - scrollers (or belt - scrollers, as this subgenre is sometimes known) established
by cult favorites like Guardian Heroes, while updating the feature set for modern times with HD
visuals and smoother gameplay.
Amphora presents you with an unfamiliar world with a striking
visual style inspired
by all the shadow theatre
traditions and colors of the world.
Wyatt Resident Artists Gallery Negar Ahkami's expressive, tactile paintings are inspired
by Iranian art, and
by global
visual traditions that intersect with Iran's rich art history.
Informed
by elements of popular culture ranging from manga and anime to punk rock, Yoshitomo Nara fuses Japanese
visual traditions and Western Modernism to create adorable but menacing characters that possess a startling emotional intensity.
Negar Ahkami creates expressive, tactile paintings inspired
by Iranian art and the many global
visual traditions that intersect with Iran's rich art history.
The exhibition surveys SOM's long
tradition of collaboration with
visual artists and showcases models, drawings, and ephemera from projects created
by Pablo Picasso, James Turrell, Jaume Plensa, James Carpenter, Janet Echelman, and Iñigo Manglano - Ovalle.
Conceived in the
tradition of the great international biennials, such as the Venice Biennale and the Bienal de Sao Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region
by spurring cultural tourism and bringing international attention to the area's vibrant
visual arts community.
Artists who have lived and worked in the Caribbean, as well as artists living abroad who responded to the rich
visual tradition and history of the area are shown side -
by - side.
By the mid-1990s Arnett's efforts resulted in an ambitious project to survey the
visual tradition of the African American South: an exhibition and two - volume book, titled Souls Grown Deep: African American Vernacular Art of the South, which was ultimately presented at the 1996 Olympic Games in Atlanta and remains the most in - depth scholarly examination of its kind.
The exhibition surveys SOM's long
tradition of collaboration with
visual artists and showcases models, drawings, and ephemera from projects created
by Pablo Picasso, James Turrell, Jaume Plensa, James Carpenter, Janet Echelman, and I
Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti
Tradition - Pop Painitng How painting survives against growth of mass
visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side
by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans
Drawn from the collection of Dr. Kurt Gitter and Alice Yelen Gitter, and guest - curated
by noted Japanese - art scholar Joe Earle, the exhibition features 82 works
by 40 artists, including three historic vessels illustrating both the chronological range of the collection, and a
visual touchpoint for viewers to better understand the
traditions referenced
by modern and contemporary artists.
Informed
by elements of popular culture ranging from manga and anime to punk rock, Nara fuses Japanese
visual traditions and Western modernism to create young characters that possess a startling emotional intensity.
Informed
by the interdisciplinary practices of earlier
visual artists who engaged the applied arts, poetry, theater, and dance, she merges the rarified
tradition of abstraction with techniques and materials common to decor and craft.
Her work is primarily characterized
by research into
visual traditions, taboos, and the body of the individual in relation to social bodies.
Artists, art lovers and designers alike will finish the book enriched
by a new sense of where color fits in the long, tricky
tradition of
visual statements.
«Inspired
by vibrant jockey silks which are drenched in centuries of
tradition and superstition, the restaurant's
visual language is an eclectic mix of bold geometric shapes juxtaposed against vintage British typography and Victorian illustrations from old advertisements.
«
By creating 3D elements that interpret the famous German
tradition of lead pouring, we established a key
visual for the event's promotion,» the studio explains.
The first project to explore the
visual art, poetry and music of one of America's most inventive yet under - recognized contemporary Native American artists, this exhibition will survey Cannon's highly productive but short career; his development of a unique and hybrid
visual vocabulary; and his combination of irony and wit with a reverence for community and
tradition to interrogate American history and popular culture; as well as the issues wrought
by colonialism, hegemony, and historical amnesia — all through his Native lens.
Both galleries presented works
by Latin American photography masters as well as the contemporary artists defining new
traditions in Latin American
visual culture.
Conceived in the
tradition of the great international biennials, such as the Venice Biennale and the Bienal de São Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region
by spurring cultural tourism and bringing international attention to the area's vibrant
visual arts community.
The newly produced work could respond to the selected piece in a number of ways —
by addressing its historical origins,
by proposing a new
visual relationship in the
tradition of Dr. Barnes, or
by critiquing the Barnes method altogether.
1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond
Tradition,
Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints
by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings
by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..
Her work is characterized
by research into archaic
visual traditions, pleasure wrested from suppressive taboos and the body of the artist in dynamic relationship with the social body.
Their piece The Dragon of Profit and Private Ownership (2017) commissioned for the festival is a similarly playful take on the
visual culture of protest and folk
traditions, inspired
by a Northumbrian miners» banner design from 1924 (the dragon emerged as a motif in 19th - century radical pamphlets).
Conceived in the
tradition of international biennials, Prospect New Orleans showcases new artistic practices from around the world and contributes to the realization of New Orleans
by spurring tourism and bringing international attention to the city's vibrant
visual arts community.
A pioneer of feminist performance who has transformed the very definition of art, her work is characterized
by research into archaic
visual traditions, pleasure wrested from suppressive taboos, and the body of the artist in relation to the social body.
This hybrid art that is a mix of contemporary western style and Arabic ideas is, Kanoo insists, part of the global history of art, just the latest movement in a long
tradition of East - meets - West
visual culture, and he talks knowledgeably and enthusiastically about the mutual influence of Constantinople and Venice before the Renaissance, of Andalucian Spain, of Baghdad, destroyed
by the Mongol invasion, the Golden Horde.
Primed
by his bohemian leanings and his radical political beliefs, he was a product of the cultural moment when the radical
visual innovations of the Cubists and Fauve artists were undermining
visual art's comfortable bourgeois realism and strict academic
traditions.
Dean's phenomenologically steeped work relates to radical experiments in film
by the Canadian Michael Snow, but they are also part of a more venerable British pastoral
tradition that has affected the arts of that island nation in literature and music as well as the
visual arts.
The Department of
Visual Arts at the University of Chicago continues its
tradition of showing works
by its students and recent graduates of the MFA program and the undergraduate program.
By referencing animistic notions by which artists ascribe a spiritual core to individual works, as well as 20th - century avant - gardes that mined the human subconscious and practiced a kind of social awareness, Kim's work has developed around the visual tradition of illusionis
By referencing animistic notions
by which artists ascribe a spiritual core to individual works, as well as 20th - century avant - gardes that mined the human subconscious and practiced a kind of social awareness, Kim's work has developed around the visual tradition of illusionis
by which artists ascribe a spiritual core to individual works, as well as 20th - century avant - gardes that mined the human subconscious and practiced a kind of social awareness, Kim's work has developed around the
visual tradition of illusionism.