Sentences with phrase «classical art historical»

Not exact matches

The second step is to organize programs in artistic training and art - historical instruction geared to the re-establishment of classical artistic norms.

In heart of city, Art Deco boutique hotel offers spacious rooms with classical furnishings and historical 1944 elements...

Admire classical Balinese architecture and travel back in time through the huge collection of arts and historical Read More»

The Hall of Sculpture Balcony bears a hefty selection of Nicole Eisenman's paintings and plaster sculptures amongst the museum's figurative marble statues, though the artist's brand of classical and art historical absurdities seem tame in comparison to the strangeness of satirical and metaphorical works by Iranian artist Rokni Haerizadeh installed in an adjacent space.

These epic installations collapse historical and narrative time, placing equal emphasis on classical mythology, art history and the socio - political conditions of the present.

This large - scale bronze playfully casts the classical female figure, reimagined in Giorgio de Chirico's surreal paintings, as if she is made of crudely carved polystyrene, further debunking the fetishized art historical form.

Tapestry is the art form of grand houses: depicting classical myths, historical and religious scenes and epic battles.

Gardner ties in imagery from classical painting to open up the historical perspectives while simultaneously asserting his contemporary identity into the history of art.

Reflecting a central aspect of her work; the role of the voice and the feeling of mourning or loss, resilience and survival, in the political and historical, individual and collective, Cammock wants to focus on how emotion is expressed in Italian culture and society, with a particular focus on opera, classical and folk music, art, poetry, writing and dance.

With a particular focus on an examination of subculture communities, Opie's photographs unite current day politics and societal structures with a classical art aesthetic, culminating in a body of work that expands upon the tradition of documentary photography as well as the greater art historical canon.

Her figurative paintings use traditional art - historical genres (the still life, the formal portrait, depictions of classical statuary) to explore people and objects that no longer have the fixed representational or symbolic status that allowed those genres to operate.

Hoda's treatment and selection of materials intentionally prompts classical and modernist associations — the art historical connotations of each medium supersedes the legibility of the object.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Morton reviews works from Gérôme's entire career - the early «Néo - Grec» paintings with references to classical antiquity, historical scenes, Orientalist genre paintings, and his late focus on sculpture - to make the case for his spectacular art.

But Tucker's observation that «the freedom with which these artists mix classical and popular art - historical sources, kitsch and traditional images, archetypal and personal fantasies, constitutes a rejection of the concept of progress» was prescient.

Shirana Shahbazi makes photographs in classical art - historical genres, including portraiture, still life, and landscape, often translating and repeating her images in different mediums: hand - knotted carpets, for instance, and photorealistic billboards painted by artisans hired in her native Iran.

Paul Martineau curated the other half for the Getty, highlighting Mapplethorpe's connections to classical sculpture and art - historical themes.

M is a dynamic art institution that combines a historical collection with a varied exhibition programme of classical and contemporary art.

Kehinde Wiley revamps the tradition of classical portraiture, retroactively injecting black subjects into the art historical tradition, while Mickalene Thomas addresses understandings of womanhood, identity and desire with her bedazzled interior portraits.

In this exhibition, Marilyn Minter takes on the classical theme of the bather and the period of drastic art historical change characterized by the new role of the female nude and «the gaze» represented in works such as Édouard Manet's Olympia (1863) and Gustave Courbet» s L'Origine du Monde (1866).

Through drawing, sculpture, video and performance, he looks at the historical otherness in order to unveil the links between power, fascination and classical art.

The Gazing Ball series is grounded in distinctive narratives and art - historical precedents — from ancient classical sculpture to Rubens and Manet.

Opie's photographs unite contemporary themes and issues with a classical aesthetic that expands upon her exploration of the tradition of photography as well as the greater art historical canon.

The selected works all make reference to classical or art historical sources either in the method of depiction or their subject matter.

He might have seemed, at the time, to be speaking for the great cultural movement about to emerge — for James Joyce, with his layering of classical myth and the profane reality of early - twentieth - century Dublin in Ulysses; for Picasso, whose postwar art of pastiche seemed to disassemble and recombine historical styles just as his earlier work had taken apart and reconstructed pictorial space; for Stravinsky, whose music had found a sense of modernity in both primitive ritual (The Rite of Spring) and the mincing artifices of the eighteenth - century ballroom (Pulcinella), and who sought for his Oedipus Rex «a medium not dead but turned to stone.»

Mikkel Carl is inspired by art theoretical and culture critical movements such as the historical avant - garde, the «60s neo-avant-garde, postmodern appropriation art and the»90s relational aesthetics, all of which tried to challenge the classical art institution and the existing concept of art.