Sentences with phrase «early modern avant»

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Organized both thematically and chronologically, the show divides the works on view into two main chapters: the years from 1923 to 1933, a time when Torres - García was involved in early modern avant - garde movements such as Catalan Noucentismo to Cubism, Ultraism - Vibrationism, and Neo-Plasticism; and those from 1935 to 1943, a time in which he was fully committed to creating works in his unique style of synthetic abstraction.

Not exact matches

Earmarked for early 2018 and described as neo-sedan by its maker, the low - drag, high - visibility DS7 is supposed to assume the role of an avant - garde Audi / BMW / Mercedes alternative, a modern take on the most advanced mass - production car ever built, the 1955 Citroën DS.

Distinct from the ways that early twentieth - century European avant - garde film advanced narratives of «failed vision» and «enlightenment» within the transformation of modern life, this conversation reconsiders the aesthetics of abstraction and experimentation that are beholden to an ethics of contingency and fragmentation within contemporary culture.

Starting as early as with Matisse and presenting a curated selection of major modern masters such as Julio Gonzalez, Joan Miró and Roberto Matta, the show will feature also some seminal Russian avant - garde pieces by Rodchenko, among them Spatial Construction, redefining the concept of image and space in its entire understanding.

They have exhibited at institutions around the world, with recent presentations including Scapegoating Pictures, Ludwig Museum, Budapest (2017); Luther und Die Avant Garde, St Matthew's Church, Berlin (2017); The Early Years, the Museum of Modern Art, New York (2015); and The Art Exhibition, the Museum of Old and New Art, Berriedale, Tasmania (2015).

In these early galleries, perfunctory sketches alternate with paintings like «Modern Art» — a brief anthology of enervated abstract marks against a black ground — that skewer a half - century of avant - garde rhetoric in one mid-size canvas.

Recycling ready - made materials, repurposing common household items and creating art from the refuse of everyday life are classic strategies of the modern and postmodern avant - garde, from early - 20th - century Cubist collages of newspaper clippings and the ephemera of popular culture to today's recycling...

The Russian avant - garde was a large, influential wave of avant - garde modern art that flourished in the Russian Empire and Soviet Union, approximately from 1890 to 1930 — although some have placed its beginning as early as 1850 and its end as late as 1960.

As a result, the works in Radical Women defy not only the invisibility of female artists throughout region, but disrupt existing scholarly and curatorial narrations of late modern and early conceptual art practices across Latin America's different avant - garde movements.

The artists have exhibited at institutions around the world, including the recent shows: «Scapegoating Pictures ``, Ludwig Museum, Budapest (2017); «Luther und Die Avant Garde ``, St Matthew's Church, Berlin (2017); «The Early Years ``, the Museum of Modern Art, New York (2015); and «The Art Exhibition ``, the Museum of Old and New Art, Berriedale, Tasmania (2015).

Although it dates back to the medieval performances of court minstrels and travelling troubadours (if not to the oratorical performances of Classical Antiquity), modern Performance Art owes its existence to the activities of avant - garde movements such as Futurism (c.1909 - 14), Dada (1916 - 24), Surrealist Automatism (1924 - 40), Nouveau Realisme (early 1960s), Fluxus (1960s), Neo-Dada (1960s), Body Art (from 1960) and Feminist Art (1970 onwards).

Thus, for example, a work of art produced as early as 1958 might be decidedly «postmodernist» (if the artist has a very avant - garde outlook - a good example is Yves Klein's Nouveau Realisme); while another work, created by a conservative artist in 1980, might be seen as a throw - back to the time of «Modern Art» rather than an example of «Contemporary Art».

This collection centers on Marius de Zayas, an influential yet largely behind - the - scenes participant in the new avant - garde art scene in New York and Paris in the 1910s and early 20s; it was assembled by Francis M. Naumann for his How, When and Why Modern Art Came to New York (Cambridge: MIT Press, 1996).

(Suprematism, Constructivism, and De Stijl, the early avant - garde movements that were Minimalism's point of departure, had a conceptual dimension, as the theoretical writings of their artists make clear, but it was their rejection of representation in favour of pure abstraction that gave them their important place in the history of modern art, in the eyes of Greenberg.

Two key moments are emphasized: the period from 1923 to 1933, when Torres - García participated in various European early - modern avant - garde movements while establishing his own signature pictographic - constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

Installed in the Frank Lloyd Wright — designed rotunda and the Thannhauser Gallery on Tower Level 2, this exhibition showcases the museum's exceptional modern holdings as organized through the perspectives of six proponents of the avant - garde who intersected with the Guggenheim Foundation in the early decades of its history and gave their personal collections, in whole or in part, to the institution.

An early exponent of modern art in America, Charles Demuth first developed an interest in avant - garde art, notably Cubism, following a visit to Paris in 1912 - 14.