Sentences with phrase «century art history»

Seeing the works in conversation with each other and their history creates a wonderful survey of this important piece of 20th century art history.

The exhibition brings together works from different periods, art movements and disciplines where you can discover 20th Century art history, stories and dialogue.

A walk through these «clusters» provides a lesson in twentieth century art history in itself, as names including Alexander Calder, Henry Moore, Louise Bourgeois, Antony Gormley and Robert Motherwell rub shoulders.

Hedda Sterne's artistic career spans the 20th Century art history books.

Any 20th century art history course worth its salt will have surely shown a slide of Robert Smithson's Spiral Jetty and prompted students to commit to memory the work's revolutionary scale and site specificity.

I was doing 17th century art history — it doesn't get more obscure.»

Using ceramic practices as a cue, the group exhibition explores ideas about the division between fine art and craft initiated in the 19th century, and the position of decorative arts within 20th century art history calling into question the relationship between contemporary aesthetics and social life.

Featuring an extensive text by Tiffany Bell which explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-twentieth century art history, culture, and scientific theory.

And whether he is considered part of 20th or 21st century art history, his work continues to articulate and dismantle the contradictions of our present time.

Twentieth century art history gave us plenty to talk about when it comes to architecture and how it informs the world and its individuals (or vice versa).

This fully illustrated book examines this cultural phenomenon as a key moment in twentieth - century art history which transcended regional and racial boundaries.

If you have not taken a 20th Century Art History survey course, you may not have heard, but modernism is dead.

Both artists are informed by broad trends in 20th century art history as well as by pivotal moments of turmoil within the marginalized communities of Los Angeles.

His large - scale paintings, sculptures, reliefs, and installation works made from found objects embrace the diverse styles, genres, and ideas of 20th century art history including Abstract Expressionism, Color - Field Painting, and Op - Art.

In addition to works by Van Gogh, the museum's permanent collection also contains paintings by the artist's contemporaries, notably those associated with Impressionism (1873 - 90), Post-Impressionism in France (1880 - 1900), Pointillism (c.1884 - 1900), and Post-Impressionism in Holland (c.1880 - 1920), and stages exhibitions on various aspects of 19th Century art history.

Presaging and foreshadowing the work of the Pop and Minimalist masters which would accompany his, and the New York School's ascendancy in twentieth and twenty - first century art history, Chamberlain time and time again challenged the notion of what sculpture could be and was capable of effecting in the minds and eyes of the viewer.

Our gaze wanders over to the output of central figures of twentieth - century art history caught by Picasso's Stalin portrait in the Communist cultural journal Les Lettres françaises from 1953, Andy Warhol's poster promoting the German Green Party from 1978 (at the suggestion of Joseph Beuys, who also appears in the exhibition), or Robert Rauschenberg's poster for the United Nations» International Conference on Population and Development in 1994.

Also featured is an extensive text by Tiffany Bell that explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-20th century art history, culture and scientific theory.

Featuring a significant selection of previously unpublished archival texts of Clark's personal writings, it is a vital source of primary documentation for twentieth - century art history scholarship.

- Adrian Searle, Guardian «Phaidon's Themes and Movements series seeks to provide the late 20th - century art history books of the future.»

From the graceful silence sought after by the Zero artists to the visual effects attaching by the Kinetic artists, and the innovative techniques of Pino Pinelli and Mimmo Rotella, Rethinking Space unites the various strands of Italian art of the 1950s and 1960s and beyond to provide a complete overview of one of the most fruitful times in twentieth century art history.

Yet in the meantime, its displays currently go deep into 20th - century art history without a sniff of a Salford mill scene.

So in reverence to this important moment in 20th century Art History, Artlyst brings you the Top 10 Dadaist Artists.

Long reduced to a footnote of 20th century art history, DeFeo (1929 — 1989), previously remembered largely for The Rose (1958 — 66), her monumental, massively thick relief painting, came roaring back into the public consciousness with her impressive 2012 — 13 retrospective at the San Francisco Museum of Modern Art and the Whitney Museum of American Art, New York.

Like much of Olivier's work, this piece focuses on space, with nods toward twentieth century art history.

Bove considers the «familial narration of 20th century art history, favoring instinct over conventionality, responsive to periods of harmony and reverberations,» that utilize physical presence as a gateway to engagement.

Including major installations and rarely seen works on paper and archival materials, the exhibition is a long - overdue exploration of Le Parc's central role in twentieth - century art history.

Recent scholarship has placed these artists within the mainstream continuum of twentieth century art history, and their works add depth and richness to the landscape of American art history: BRUCE CONNER WALLACE BERMAN JOE GOODE ED RUSCHA TONY BERLANT LITA ALBUQUERQUE RICHARD PETTIBONE

In the process, the modernist ideal is turned on its ear, the cubist form is acutely rendered into a parody of itself, and the insider joke of twentieth - century art history is writ large by a malformed and misshapen conceptual gesture that is as much Dire Straits as it is Picasso.

It became one of the most productive instances of a painter using his fellow artist's work as inspiration in 20th - century art history.

«Phaidon's Themes and Movements series seeks to provide the late 20th - century art history books of the future.»

Whatever the reason, however, everyone is benefitting from a broader, more representative definition of what late 20th century art history is.

Barba's film offers a portrait of one of his sculptures, which has borne witness over many years to the joyful creative universe of this great figure in twentieth - century art history.

The exhibition, VALIE EXPORT / Archive, provides the opportunity to rediscover new aspects of an internationally renowned artist whose works are counted among the canon of 20th century art history and represented in many important museum collections.

It is an extremely interesting look inside the life of this scandalous seminal figure from 20th century art history.

Survey David Campany provides a comprehensive historical overview of photography's place in twentieth - century art history.

One of the inspirations for this return to drawing was, in fact, an act of erasure - Robert Rauschenberg's Erased De Kooning Drawing (1953), an act of seemingly destructive iconoclasm that itself became an iconic moment in 20th century art history.

Was that part of the impetus behind this decision to put this amazing lineup of younger artists with these giants of 20th - century art history?

His «Spiral Jetty», an icon of 20th century art history, was built out from the shore of Utah's Great Salt Lake in 1970.

He has published widely in the areas of eighteenth - century art history, critical theory, and contemporary art.

This exhibition features over 100 artworks and artefacts from key Yugoslavian artists, casting light on an important — yet often overlooked — aspect of 20th century art history.

The 60 - year survey of the sculpture of Ibram Lassaw currently on view at the Guild Hall Museum sums up a body of work that will never rank very high in the annals of 20th - century art history.

The standard narrative in 20th - century art history is that painters had to struggle against tradition and conservative institutions to forge a new language of abstraction.

As regards their critique of consumer culture, references to Pop Art are evident, but many of the works seem clumsy — which may be one of the reasons why Funk Art was known almost exclusively in the Bay Area and now appears as little more than a footnote in 20th century art history.

Whether it's Andy Warhol, Roy Lichtenstein, or Robert Rauschenberg, no other conceptual movement in modern twentieth - century art history has been such a crucial influence on our ideas of aesthetics, design, and the American way of life as Pop Art.

Meanwhile he was stitching himself into a group, horribly neglected by 20th - century art history, of black abstract painters such as Jack Whitten and Stanley Whitney (both of whom, like Binion, are finally gaining overdue recognition).