Sentences with phrase «century art critic»

Highly contemporary, the exhibition's title is drawn from a text by the eleventh - century art critic Guo Ruoxu, who uses the phrase «full of peril and weirdness» to describe a painting — among the first recorded instances of such words being used in praise, rather than as condemnation, when describing a work of art.

One of the most glaring examples is his treatment of 19th century art critic John Ruskin (Josh McGuire) who dares favorably compare Turner's work to other artists.

Critical Voices is an ongoing lecture and discussion series dedicated to the spirit of one of America's most noted 20th century art critics, Clement Greenberg.

Other famous 20th century art critics in the United States included the so - called formalist Clement Greenberg (1909 - 94), his rival Harold Rosenberg (1906 - 1978)- who tended to focus on the content and circumstances of the artwork - the conservative John Canaday, art critic of the New York Times, and Leo Steinberg (1920 - 2011)- the critic and Renaissance historian, noted for his scintillating lectures, his clarity of writing and his book Other Criteria: Confrontations with 20th Century Art.

Not exact matches

But its roots are traceable to the end of the 19th century when influential cultural critics - Matthew Arnold chief among them - drew critical attention to deep concordances between religion and art with their predictions that, in Arnold's famous phrase, «most of what now passes with us for religion will be replaced by poetry.»

In the mid 19th century, Effie Gray (Dakota Fanning) has been courted by noted art critic John Ruskin (Greg Wise) since she was only 12 years old, and he has waited for her to come of age to marry her.

Though it received a fairly solid 68 percent on — please stop reading here if you're Martin Scorsese — Rotten Tomatoes, it was deeply polarizing, throttled by some critics as «the worst film of the century,» and hailed by others as a wholly unique, engaging piece of art.

The late Brian Sewell, renowned art critic and ardent car enthusiast, writes with authority and clarity in his retelling of these seminal events of more than a century ago.

In clean, bright, and provocative language, a cultural critic and historian discusses trends in art, literature, music, and history over the past five centuries.

Long celebrated for his vivid evocations of nineteenth - and twentieth - century American life (particularly New York life), Doctorow has received the National Book Award, two National Book Critics Circle Awards, the PEN / Faulkner Award, the Edith Wharton Citation for Fiction, the William Dean Howell Medal of the American Academy of Arts and Letters, and the presidentially conferred National Humanities Medal.

The priority of the radical revolutionary implication of the term «avant - garde» rather than the purely esthetic one more usually applied in the twentieth century, and the relation of this political meaning to the artistic subsidiary one, is again made emphatically clear in this passage by the Fourierist art critic and theorist Laverdant, in his De la Mission de l'art et du rôle des artistes of 1845:

What is stressed in all these stories is the apparently miraculous, non-determined and a-social nature of artistic achievement; this semi-religious conception of the artist's role is elevated to hagiography in the 19th - century, when both art historians, critics and, not least, some of the artists themselves tended to elevate the making of art into a substitute religion, the last bulwark of Higher Values in a materialistic world.

There has never been a time when art critics held more power than during the second half of the twentieth century.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Yet Kandinsky's curious gift of colour - hearing, which he successfully translated onto canvas as «visual music», to use the term coined by the art critic Roger Fry in 1912, gave the world another way of appreciating art that would be inherited by many more poets, abstract artists and psychedelic rockers throughout the rest of the disharmonic 20th century.

The Diderot series takes its name from the 18th century French Enlightenment philosopher, writer, art critic and encyclopedia contributor Denis Diderot.

Later in the month, the University of Bristol is hosting «Framing the Critical Decade: After the Black Arts Movement» (March 21 - 21), a conference bringing together scholars from across the humanities, critics and artists to engage questions around «Black British - ness» and Black British creative production in the 20th and 21st centuries.

Surrealist, Romantic, official artist in both world wars, photographer and writer (and sometime art critic), Paul Nash was the greatest English modernist, whose art was a synthesis both of artistic conflict and personal difficulty, and borne out of the horrors of the century itself, with its shell - cratered landscapes and acres of twisted airplane wreckage, seen under a gibbous moon.

Although Georgia O'Keeffe (1887 — 1986) has long been celebrated as a central figure in twentieth - century art, the abstract works she created throughout her career have remained overlooked by critics and the public in favor of her representational subjects.

In the 1940s there were not only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) but also few critics who were willing to follow the work of the New York Vanguard.

In the second installment of our look back on the seminal art critics of the 20th century, we review the accomplishments of a champion of Abstract Expressionism.

The largest affiliate of the International Association of Art Critics, AICA - USA has been paying tribute to exhibition excellence for more than a quarter century.

They were supported by probably the most influential art critic in the twentieth century Clement Greenberg, who emphasised the importance of the formal properties of art — such as colour, line and space — over subject or meaning

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Drawing on Hogarth's critique of 18th - century society in Marriage A-la-Mode (1743 — 45), Himid's installation is a damning indictment of UK society, including the art world, in the 1980s, with Margaret Thatcher and Ronald Reagan as the countess and her lover alongside a critic and a dealer.

Throughout the first half of the twentieth century, numerous artists, writers, critics and scholars pushed the boundaries of social thought and practice, revolutionised the arts and thereby developed the concept of Modernism.

Critic and art historian Donald Kuspit has ascribed the term «The Expressive Cure» to both early 20th century expressionism and to its current forms for its power to express the most profound and super-sensuous subtleties of emotion.

The monograph, designed by Takaaki Matsumoto and authored by philosopher and art critic David Carrier, is the first to trace Rohrer's trajectory over 40 years, describing the highly unorthodox arc of his life — from Mennonite stock in rural Pennsylvania to prominence as an exceptional abstract painter of the late 20th century.

-- Romanesque Art (1977)-- Modern Art: 19th and 20th Centuries (1978) RELATED LINKS Know Your Critics: What Did Harold Rosenberg Do?

On the other hand, visual art critic Clement Greenberg called Immanuel Kant (1724 — 1804) «the first real Modernist», [34] though he also wrote, «What can be safely called Modernism emerged in the middle of the last century — and rather locally, in France, with Baudelaire in literature and Manet in painting, and perhaps with Flaubert, too, in prose fiction.

«De Kooning's last paintings are hard to describe,» the New Yorker art critic Peter Schjeldahl has succinctly written, and indeed, the late works defy easy categorization, and yet they are the lasting contribution of one of the 20th century's most beloved and brilliant artists.

In 1954, French literary critic Michel Carrouges borrowed the term bachelor machine from this work to name a pervasive trend in turn - of - the - century art and literature, citing the work of Mary Shelley, Edgar Allen Poe, Jules Verne, Alfred Jarry, Villiers de l'Isle - Adam, Raymond Roussel, Franz Kafka, Fritz Lang, Thea Von Harbou, and Jean Tinguely, among others.

The writer, art critic, and Brooklyn Rail publisher Phong Bui will moderate this panel discussion focusing on the context and form of Asian American art in the 21st century.

Throughout the twentieth century and accelerating with the rise of conceptualism and Michael Fried's prediction of the end of art, or at least the death of painting, critics, curators, and historians have questioned the validity of the medium while artists have continued to paint.

Although, if Europe produced the noted critics of the nineteenth century (Baudelaire in France and Ruskin in England), and America produced Greenberg and Rosenberg in the twentieth century, one wonders if the next «big» art critic might not arise in China, the superpower on the horizon.

His best criticism was collected in The Changing Forms of Art; long out of print when the Tate published another collection, Painter As Critic, to make available again some of the most perceptive and trenchant English criticisms of 20th century modernism.

Pollock saw her work with critic Clement Greenberg in 1946 at Peggy Guggenheim's The Art of This Century Gallery and the next year Pollock began flinging and pouring paint.

2011 Griffin, Jonathon, «Vitamin P2», Phaidon, 201 Nickas, Bob, «Catalogue of the Exhibition 1984 - 2011», 2nd Cannons Publications, 2011 Heninrich, Will, «Richard Aldrich «Once I Was...» at Bortolami...», NY Observer, September 27, 2011 Prince, Mark, «Richard Aldrich», Art in America, September, 2011 Kitamura, Katie, «Time Again», Art Monthly, July - August, 2011 Nash, Forrest, «Despite Their Dissimilar Features», Contemporary Art Museum St. Louis, 2011 Fried, Laura, «Painting and Silence (Waving My Arms in the Air)», Contemporary Art Museum St. Louis, 2011 Navarro, Mariano, «Abstraccion Racional», Centro Galego de Arte Contemporanea, 2011 Landi, Ann, «Dear Picasso», Art News, May, 2011 Coomer, Martin, «Provisional Painting», Time Out London, May, 2011 Meade, Fionn, «Time Again», Sculpture Center, 2011 Saltz, Jerry, Critics Pick, New York Magazine, April 25, 2011 Thompson, Anne, Critics Picks, Artforum.com, 2011 Bronson, Ellie, «Creating the New Century: Contemporary Art from the Dicke Collection», Dayton Art Institute, 2011

This monograph, authored by philosopher and art critic David Carrier, is the first to trace Rohrer's trajectory over 40 years and describes the highly unorthodox arc of his life, from Mennonite stock in rural Pennsylvania to prominence as an exceptional abstract painter of the late 20th century.

According to the important American poet John Ashbery, «To read Fairfield Porter is to rediscover art through the eyes of someone whose intuitive love and understanding of it has been matched by few contemporaries,» while fellow New York School poet Barbara Guest wrote, «Blunt, intuitive, scholarly, inspired — I believe no other critic has so tackled the meaning of twentieth century art, has tightened our vision of it.»

It refers to groups of artists and writers in the late 19th and early 20th centuries, specifically, those making and distributing art in a different way to their contemporaries; artists who self - consciously created «isms», were promoted by themselves or critics in little magazines and showed and sold their work in private galleries or artist - led exhibitions.

Documents contextualises the Works with original artists» statements and interviews, often reproduced in book form for the first time, plus writings on art and photography by leading critics, writers and theorists of the late twentieth century.

At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with «wild», multi-colored, expressive landscapes and figure paintings that the critics called Fauvism.

Clement Greenberg is hailed as one of the greatest art critics of the 20th century.

Sterling Ruby, named «one of the most interesting artists to emerge in the twentieth century» by New York Times art critic Roberta Smith in her review of the his two coinciding New York exhibitions in 2008, has been under the spotlight in the last decade or so.

«The Art Critics» showed the lack of knowledge the critics from New York City newspapers and art publications had about developments in 20th - century aArt Critics» showed the lack of knowledge the critics from New York City newspapers and art publications had about developments in 20th - centuCritics» showed the lack of knowledge the critics from New York City newspapers and art publications had about developments in 20th - centucritics from New York City newspapers and art publications had about developments in 20th - century aart publications had about developments in 20th - century artart.

Mo» MoMA, Mo» Problems — In his defense of the Folk Art Museum, which faces impending demolition by its neighbors and new owners at the Museum of Modern Art, New York Times architecture critic Michael Kimmelman suggests that some native New Yorkers are beginning to feel a bit miffed by the nonstop growth and creeping corporatism of the city's beloved repository of 20th - century aArt Museum, which faces impending demolition by its neighbors and new owners at the Museum of Modern Art, New York Times architecture critic Michael Kimmelman suggests that some native New Yorkers are beginning to feel a bit miffed by the nonstop growth and creeping corporatism of the city's beloved repository of 20th - century aArt, New York Times architecture critic Michael Kimmelman suggests that some native New Yorkers are beginning to feel a bit miffed by the nonstop growth and creeping corporatism of the city's beloved repository of 20th - century artart.

The first writers to acquire an individual reputation as art critics in 18th - century France were Jean - Baptiste Dubos with his Réflexions critiques sur la poésie et sur la peinture (1718)[17] which garnered the acclaim of Voltaire for the sagacity of his approach to aesthetic theory; [18] and Étienne La Font de Saint - Yenne with Reflexions sur quelques causes de l'état présent de la peinture en France who wrote about the Salon of 1746, [19] commenting on the socioeconomic framework of the production of the then popular Baroque art style, [20] which led to a perception of anti-monarchist sentiments in the text.