Sentences with phrase «early sixties new»

Sehgal's work recalls the neo-Dadaist experiments of early Sixties New York and Seventies West Coast conceptualism.

Claes Oldenburg's two - story exhibition at MoMA «The Street and the Store» is more like one big stockroom of early sixties New York City.

Not exact matches

«One of the conclusions we came to, early on, was that the traditional notion of retiring in your early sixties was a bad idea... 70 is the new 65.»

Acknowledging this, however, would call into question the revelation vouchsafed to another of the new environmentalism's ideological allies, the population - control movement: namely, that people are a pollutant» a pernicious idea, born of the earlier progressivist eugenics movement and brought to a popular boil in the Sixties by evidence - light propagandists like Paul Ehrlich, that continues to affect U.S. foreign - aid policy to this day.

Some new moods in theology that appeared in the early sixties appealed to Bonhoeffer's later works, particularly the Letters and Papers from Prison.

A large number of leading New Testament scholars have now rejected these traditions as unhistorical, leaving us with two conclusions: the first, that none of the Gospels was written by an eye - witness of the events described in it, and the second, that the earliest Gospel, that of Mark, was written thirty - five years or more after the death of Jesus, and the other three Gospels were written nearly sixty years or more after the same point.

The renowned New York Times reporter John McCandlish Phillips died earlier this month after over sixty years of city watching.

About a year ago, R. R. Reno used the New Yorker's cartoon figurehead, with his characteristic top hat and monocle, as a caricature of those intellectuals in the late sixties and early seventies who failed to see the significance of the cultural revolution occurring all around them.

A lean, fit man, apparently in his early sixties, although in fact pushing eighty, Lesser breezed into New Scientist's newsroom every Thursday afternoon to scour the medical journals and generally keep us on our toes.

Joyce McKinney, a would - be femme fatale, now in her early sixties, is at the center of Errol Morris's strange new documentary, «Tabloid,» which chronicles a scandal that took place thirty - four years ago yet remains oddly resonant today.

That play ushered in a new era in British theater, often qualified as «kitchen - sink drama,» which featured «angry young men» railing at the confines of working - class and lower - middle - class life in the Britain of the fifties and early sixties.

Brutally denied Oscar glory for his turn in the Coen brothers» ode to the drifting talents that populated New York City's Greenwich Village in the early sixties, Isaac's best role still got plenty of attention and firmly established him as a leading man capable of carrying all kinds of material.

The New York Times remembers the director's career, which began in the early sixties when Janus Films hired...

With the cool B&W look of Louis Malle's early sixties thrillers and a star - studded cast, the opening scenes seem to be leading up to a New Wave thriller set in the chic - ly impersonal world of Parisian high society.

A gifted talent just can't catch a break in Joel and Ethan Coen's lovingly rendered and poignant vision of the folk scene in early - Sixties New York

Both new and experienced teachers repeatedly cite classroom - based experiences and student teaching as the most critical elements of their preparation.19 Surveys of new teachers demonstrate that one in three feels unprepared on his or her first day, and that they believe their preparation could have been improved with clinical preparation earlier in their training process.20 Sixty - two percent of all new teachers say they were unprepared for the classroom after they graduated from their teacher preparation program.21

Books also sneak into the features features, in the form of an interview with Mary Rockefeller Morgan, the twin of Michael Rockefeller, who disappeared in New Guinea in the early sixties.

In LONDON, starting October 2012, Laurent Delaye Gallery presents Experiment in Time, a new exhibition that creates new dialogues between exceptional early works from the Sixties by British artists Norman DILWORTH, Stephen GILBERT, Anthony HILL, Peter LOWE, Victor PASMORE, Jeffrey STEELE and Gillian WISE.

It is staggering that no one has ever asked why, or figured out that it was in the late sixties and early seventies that nearly all the new movements that exist today began.

In fact there is an autobiographical undercurrent that unmistakably characterize them as a new direction in American Painting that developed in the late sixties and the early seventies.

A new element that provided the path to freedom through lyricism and rebellion and led advanced painting away from the restrictive dogma of the art of the early sixties.

Milwaukee Art Museum (2009, traveled to Museum of Modern Art, Fort Worth, Brooklyn Museum of Art and the Baltimore Museum of Art); «Motion Pictures,» Museum of Modern Art, New York (2010); and «The Early Sixties,» Kunstmuseum Basel (2010).

However, he is best known for his twenty - eight years of instructing at the Art Students League of New York and establishing the Frank J. Reilly School of Art in the early sixties, where he taught until his death in 1967.

Exhibitions have included Claes Oldenburg: The Sixties at the Museum Moderner Kunst Stiftung Ludwig Wien in Vienna, Claes Oldenburg and Coosje van Bruggen: Theater and Installation 1985 — 1990 at the Pace Gallery in New York, Claes Oldenburg: Early Sculpture, Drawings, and Happenings Films at the Whitney in 2009, as well as the 1964 and 1968 Venice Biennales.

Published on the occasion of the exhibition Georg Baselitz: The Early Sixties, 4 May - 25 June 2011 at Michael Werner Gallery, New York.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

Beginning in the 1960s, McCracken exhibited steadily in the United States and abroad, and his early work was included in groundbreaking exhibitions such as Primary Structuresat the Jewish Museum, New York (1966), and American Sculpture of the Sixties at the Los Angeles County Museum of Art (1967).

During those years, the early sixties, we were regularly bombarded by American Art and we awaited each new instalment like food parcels to a half - starved community.

Yet the broad gestures of red, yellow, and green reveal Basquiat's association with the New York School, in particular his indebtedness to Franz Kline, as well as the early work of Jackson Pollock, and the figures of Willem de Kooning of the sixties.

It was a new department in the early sixties at what had been the agricultural annex of UC Berkeley.

This exhibition of 30 photographs is drawn from VMFA's collection and highlights the artist's early career in Hungary while also focusing on seminal moments during the sixty years when he worked in Paris and then New York City.

During the early sixties he was immersed in the rising tide of the New York art world.

Select group exhibitions featuring their work include The Royal Academy of Arts Summer Exhibition 2017, Royal Academy of Arts, London (2017); Take Me (I'm Yours), Jewish Museum, New York (2016); A Journey Through London Subculture: 1980s to Now, ICA London (2013); Regarding Warhol: Sixty Artists, Fifty Years, Metropolitan Museum of Art, New York (2012); ARTandPRESS, Martin - Gropius - Bau, Berlin (2012); The Original Copy: Photography of Sculpture 1839 to today, Kunsthaus Zurich (2011); BP British Art Displays 1500 - 2009, Tate Britain, London (2009); and Passports: Great Early Buys from the British Council Collection, Whitechapel Gallery, London (2009).

Brown was a San Francisco native, taught by Bay Area Figurationists Bischoff, Oliverira, and Lobdel at the California School of Fine Arts (now SFAI); exhibited at legendary Beat venues (6 Gallery, Batman); lived next to Jay DeFeo and Wally Hedrick during the painting of DeFeo's The Rose; married noted Bay Area sculptor and fellow student Manuel Neri; counted such disparate artists as Wallace Berman and Bernice Bing as friends; and gained early recognition (a New York exhibition at age 22) resulting in a lifelong teaching post at Berkeley, a Guggenheim fellowship, over sixty solo shows, and inclusion in an equal number of posthumous group exhibitions.

Including full - color plates of over sixty works spanning York's career, a new essay by poet and art critic Bruce Hainley, plus earlier essays by Fairfield Porter and Calvin Tomkins, an extensive chronology, a complete bibliography, and a detailed catalogue of works, this publication is a testament to, as Hainley puts it, York's «pursuit of lyric intensity while negotiating a point - blank confrontation with history — all in stealth relation to the leopard - alive instant at the end of the brush.»

Post war abstract expressionism influenced the young Smithson, and the late fifties and early sixties found him immersed in the vitality and experimentation of the burgeoning downtown New York art scene.

Judith Stein, author of the evocative biography Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art (Farrar, Straus & Girous) takes you back to the early sixties, to the beginning of the market for contemporary art in New York, when the art dealer and tastemaker Richard Hu Bellamy (1927 - 98) made history but chose not to makeSixties: Richard Bellamy and the Transformation of Modern Art (Farrar, Straus & Girous) takes you back to the early sixties, to the beginning of the market for contemporary art in New York, when the art dealer and tastemaker Richard Hu Bellamy (1927 - 98) made history but chose not to makesixties, to the beginning of the market for contemporary art in New York, when the art dealer and tastemaker Richard Hu Bellamy (1927 - 98) made history but chose not to make money.