Sentences with phrase «challenges the art historical»

Simultaneously alluding to femininity and challenging art historical canons, the participating artists take it upon themselves to provoke and embrace the complexity of the medium.

Galleries in Chelsea, Downtown and Uptown Manhattan will feature contemporary artists» solo shows and group retrospectives that reference and also challenge art historical norms.

The artists» shared exhibition history, with Peláez showing her work alongside the new abstract generation in the 1950s, challenges the art historical narrative of a rupture between the early

Jim Leach (b. 1988, Cleveland, OH) is a Cleveland - based sculptor whose work challenges art historical norms while blurring the concept of artistic value and cultural worth.

As an early postmodern artist, George Deem (1932 - 2008) examined art as a construct and challenged art historical authority.

Revered for her prolific career spanning five decades, Carolee Schneemann has transformed ideas and discourse on the body, sexuality and gender through work that challenges art historical and visual traditions.

It culminates in the 1960s, with avant - garde works forged out of the traditions of weaving and craft (disciplines that had historically welcomed women), as well as new types of unorthodox objects whose very nature challenged art historical conventions and boundaries.

Not exact matches

Challenging the Research Base of the Common Core State Standards: A Historical Reanalysis of Text Complexity Educational Researcher, October 2013 Researchers find that contrary to the authors of the English Language Arts component of the Common Core State Standards (CCSS)-- which builds a case for higher complexity in textbooks and reading materials for students by pointing to research showing a steady decline in the difficulty of student textbooks over the past 50 years — text complexity actually has either risen or stabilized over this time.

Rich in historical detail, the novel explores the immense challenges faced by women in the arts (past and present), provides a glimpse into the seedy underbelly of the art world across the centuries, and illustrates the transformative power and influence of great art.

Nicole Furman: «I think that the content of the work I create is unique, as I seek to challenge a lot of societal preconceptions and ruling institutions through common «symbols» (from gender preconceptions, to the mere existence of innocence, to historical construction and reconstruction), which is conceptual, yet always maintaining aesthetic priorities (which conceptual art seems to disregard, and which for me define art).»

The portrait series «challenges the mythologized art historical role of the Venus and the odalisque in Western painting, setting these tropes against the reality of one of the largest concentrations of sex workers in Africa.»

Challenging the heritage of his medium through an innovative approach to materiality, technique, and content, Colen pushes the boundaries of painting while imbuing his work with formal rigor and art historical richness.

A staple in art historical discussions of institutional critique, Lawler's photographs challenge the viewer to think about the context in which works of art are displayed, and subsequently the overlooked aesthetic choices made by the places in which they are viewed, sold, and stored.

A survey of Wiley's career since 2001, this exhibition features 60 paintings and sculptures (a more recent pursuit) that riff on images from the art historical canon, challenging accepted notions of race, gender and representation.

Born in Nigeria, Akunyili Crosby's large - scale works combine collage, painting, drawing and printmaking and «challenge conventions of portraiture, even as they filter a number of art historical and literary influences.»

Exploring distinctive cultural, social and historical contexts, THE MISSION advocates for artists that shape, inform, and challenge contemporary art across media and genres.

The exhibition aims to illuminate a set of current practices by Chinese artists that attempt to challenge the Chinese traditional aesthetics and the Western art historical canon.

For the past 40 years, Mosset has challenged the historical notion of painting as an art object beginning with his involvement in B.M.P.T. (a Paris - based group of painters active during the mid-1960s consisting of Daniel Buren, Mosset, Michel Parmentier, and Niele -LSB-...]

Russian duo Andrey Blokhin and Georgy Kuznetsov have focused their innovative practice on creating sculpture from recyclable materials (plastic bags, old car tires, defunct gadgets) resulting in distinctly contemporary works that challenge the art - historical canon.

This public program will examine the challenges of archiving and locating materials related to a particular history, the implications of such undertakings for art historical scholarship, and how this initiative can impact and serve a larger community.

By combining contemporary objects and museum - quality artefacts, Wilson challenges the assumptions of exhibition methodology and art historical scholarship.

Mixing historical and contemporary art in different media presents a number of practical challenges as different works have varying conservation and display requirements.

The exhibition will be installed throughout our three gallery spaces, with historical and contemporary art juxtaposed in the first two galleries and the third focusing on contemporary responses to the challenge of self - representation.

Her works challenge conventions of portraiture, even as they filter a number of art historical and literary influences.

Her large scale works on paper, which combine collage, drawing, painting, and printmaking, challenge conventions of portraiture, even as they filter a number of art historical and literary influences.

Hoffmann's «Other Primary Structures» recreation arguably ran the risk of reinforcing the dominance of US minimalism as an art - historical category, rather than challenging or complicating it.

A main feature of the MAM program is to explore the interplay between historical and contemporary art to enrich our understanding of the larger historical context in which art is created, presenting work that is both challenging and accessible.

I use and manipulate common construction materials and architectural crown molding to parody historical bourgeois aesthetics and challenge high brow modern architecture, art, and design.»

With a diverse assembly of historical and contemporary art, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of thishistorical and contemporary art, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeart, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeArt to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of thisHistorical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movement.

The focus here is on contemporary art that has a «strong historical lineage while challenging current aesthetic conventions»; the cool name is a reference to 19th century American painter John Singer Sargent.

The work itself is fun but challenging, as his paintings frequently examine historical and contemporary events in American and Native American history, as well as aspects of pop culture, art history, and Anglo - Indian relations.

Referencing both historical and contemporary uses of illusion, Knox challenges an understanding of special effects that relies on a linear conception of technological evolution, and incorporates devices that range from trompe l'oeil, proto - cinema and dioramas, to op art, video, cinema and computer games.

Although enforcing quotas is generally unpopular, curators and museum directors are unafraid of challenging traditional art historical narratives, and women artists have been given more prominence within exhibition schedules and collection re-hangs.

Indeed, while we tend to think of conceptual art as belonging very much to now, this challenging exhibition views it as a tightly defined historical phenomenon, whose heyday was 40 years and more ago, a period during which, the show claims, British artists changed the very nature of art.

In his first solo exhibition in Asia at the Gagosian gallery in Hong Kong, Joel Morrison presents a reasonably entertaining series of recent works that challenges formalist sculpture while engaging in a constant critique of art historical directions.

It aims to challenge historical assumptions and biases about Indigenous art and enrich our understanding of American art.

While examining these challenging historical relationships, the show also underscores the complexity of the contemporary art landscape as it fosters physical and conceptual bonds the world around.

This presentation of historical work — a first at the CAG — is intended to challenge the viewer's understanding of what a contemporary art space should show, building a bridge between image making techniques and endeavors of different eras.

FLAR has continued appropriating commercial and art - historical images with irony, challenging commonly held notions of how feminism is embodied and expressed.

It considers the challenges and prospects of interpreting and displaying it alongside the historical canon which most (North American) audiences are familiar with and easily identify as African art.

The artist was something of a rebel in his youth, often taking part in political demonstrations and eventually being expelled from art school; in later life this rebelliousness found expression in his works and writing, both of which challenged accepted art historical mores and aimed to redefine the relationship between artist, object and spectator.

Gutai: Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun - Gutai Historical Survey and Contemporary Response

Jeroen Frateur's art is entangled with the art historical traditions mentioned above, though his work has more to do with composition and it obviously challenges a definition / status that hesitates between sculpture and installation.

Like many of his YBA counterparts, Turk challenges the notion of «the artist's hand,» drawing on art - historical motifs — like Duchamp's ready - mades — and unique materials in his highly conceptual work.

Painting in Italy 1910s - 1950s: Futurism, Abstraction, Concrete Art relays a complex historical account of the fraught relationship between art and politics in Italy during the interwar and postwar period, attesting to the bumps, curves, utopias and traumas experienced by an eclectic group of artists working to assert a new pictorial language by challenging the dominant tenets of their cultuArt relays a complex historical account of the fraught relationship between art and politics in Italy during the interwar and postwar period, attesting to the bumps, curves, utopias and traumas experienced by an eclectic group of artists working to assert a new pictorial language by challenging the dominant tenets of their cultuart and politics in Italy during the interwar and postwar period, attesting to the bumps, curves, utopias and traumas experienced by an eclectic group of artists working to assert a new pictorial language by challenging the dominant tenets of their culture.

Gala Porras - Kim makes work that questions how knowledge is acquired, tests the potential of the art object to function as an epistemological tool outside of its traditional, art historical context, and challenges the possibilities and limits of learning about the cultures that surround us.

This served as an art historical challenge to his predecessor photographer Walker Evans, who photographed similar scenes, but who once said «color photography is vulgar.»

Art - historical referents meet lurid pop sources and are rendered in a juiced up palette that challenges even our advertising - addled brains.

The way he has brought together the art historical traditions of John James Audubon and the great naturalists of the past with profound and often challenging cultural themes has established him as a uniquely American artist.

The introduction of postmodern critical theory into university curriculums was also pivotal, Sims notes, in producing a new generation primed to challenge the very idea of a dominant art - historical narrative.