Sentences with phrase «early seventies art»

Not exact matches

Actually, as a student in public high school in the early seventies, I took art as a major subject.

An exhibition, re-evaluation, another look and real understanding of the art of the late sixties — early seventies, may be all that is required.

Artwork was selected by four curators with the survey presenting a show heavy from the early eighties and late seventies, according to art critic and artist James Croak.

The ideas within Estes» paintings in Dispatches from the Front Lines come out of the feminist art movement of the early seventies and the subsequent flowering of the pluralism and inclusiveness of that time.

It's only when the artist enters his seventies that a university art museum mounts a show devoted to these elusive works, enlisting the curatorial help of a somewhat younger and greatly celebrated painter who was affected by them early in his career.

After graduation, Gale moved to downtown Pasadena where there was a vital art scene in the early seventies, then to New York City in 1980.

Broadly speaking, the term refers to art made in California in the Sixties and early Seventies.

For more than seventy years, The Whitney Museum of American Art has been opening its doors to their Biennial exhibition — an affair that today showcases an exciting spectrum of artists, often in their early career strides.

Dallas Collects: Impressionist and Early Modern Masters: An Exhibition Celebrating the Seventy - Fifth Anniversary of the Dallas Museum of Fine Arts, book, 1978; (https://texashistory.unt.edu/ark:/67531/metapth176538/m1/1/: accessed May 13, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu;.

Dallas Collects: Impressionist and Early Modern Masters: An Exhibition Celebrating the Seventy - Fifth Anniversary of the Dallas Museum of Fine Arts, book, 1978; Dallas, Texas.

During the sixties and early seventies, Stephen Willats was one of the very few serious representatives of international Concept Art in England.

Nevertheless, he somehow ended up attending the Kunstakademie in Dusseldorf in the early Seventies, a kind of free school where some 600 refusniks from art colleges across Germany had congregated around the charismatic figure of Joseph Beuys.

Published in 1973, Six Years simultaneously catalogued and described the development of conceptual art practices in the late sixties and early seventies, and is now widely considered an essential reference work for the period.

Born in Bangor in Wales in 1949, he studied at St Martin's and the Royal College of Art during the Seventies, before finding fame in the early Eighties as part of the «New British Sculpture» generation that also included Antony Gormley and Anish Kapoor.

Ulrike Ottinger is a German filmmaker, documentarian and photographer that came to filmmaking in the early seventies via a career in the visual arts (painting, works on paper, photography, and performance).

Not «one» exhibition of Italian art but, literally, an «exhibition of exhibitions» that, via seven paths, tries to explore the last fifty years of contemporary art in Italy, collecting more than one hundred and seventy works and over seventy artists, from the early Sixties through to the present day, in a display extending over the whole first floor of the Milan Triennale.

For Immendorff, the early seventies were a period of intense exploration into the possibilities of melding of art and politics.

The idea of late style wasn't applied to the visual arts until late that century, but it rapidly gained ground to the extent that most of us now take it for granted that the raw and the fragmentary are preferable to the classically polished, that Michelangelo's late, primal Slaves are more moving than the slick, early David, that Goya's nightmarish Black Paintings, created when he was in his seventies and isolated by deafness, are incomparably greater than his more finished early works.

The earnest «reflexivity» of the narration, which constantly draws attention to its modes of discourse; the smug female voice - over artist, who bizarrely mispronounces the numerous French words; the use of another medium — in this case dance — to create a kind of abstract demonstration of the film's content — these things all hark weirdly back to the «materialist» theory that influenced art school teaching in the Nineties, and further back to the frequently soul - destroying «deconstructed narrative» cinema of the late Seventies and early Eighties.

In the early seventies he became interested in multimedia art and moved to New York, where he currently lives and works.

Finding art relatively later in life, Marischa Burckhardt quickly became a prolific artist in the early seventies, and has since participated in over a hundred group and solo exhibitions.

Brian Griffin has been early on recognized as one of the most eminent British photographers of the seventies and eighties and as part of the «British Photographers of the Thatcher Years» with Martin Parr, Paul Graham, Graham Smith, Jo Spence and Victor Burgin, with whom he has exhibited in many iconic exhibitions: Young British Photographers at the Museum of Modern Art, Oxford in 1975 that toured in Europe and the United States; Portraits of Our Time at the Photographer's Gallery in London in 1978; Three Perspectives on Photography: Recent British Photography, Hayward Gallery, 1979, among Martin Parr, Graham Smith, Jo Spence, Victor Burgin; Ten Contemporary British Photographers at the MIT in 1982; British Contemporary Photography Coming of Age at the Houston Fotofest, the Texan photo festival in 1986.

He settled in New York City as the Soho art scene was dawning in the early seventies.

In a discussion that looks at critical art practices from the late sixties and early seventies, Dyment situates the work of Woodeson, Haegele and Ashmore as a contemporary re-examination of issues and the aesthetic of early minimal and conceptual art practices, but one that is, instead, less confrontational and is imbued with a welcoming invitation and sense of play.

In the late sixties and early seventies, after a decade of professional art practice during the height of the male - dominated Minimalist and Light and Space movements, Chicago began to make a conscious departure from abstraction and move toward figuration.

His paintings depict an increasing sexual explicitness symbolizing not only the changes within the artist himself but also in contemporary art and culture in the late sixties and early seventies.

A comprehensive exhibition including over seventy - five paintings and works on paper, from the earliest phase of Murray's career in the 1960s through her most recent work was presented at the Museum of Modern Art in 2005 (only the fourth by a woman in the history of the Department of Painting and Sculpture a distinction previously given only to Louise Bourgeois, Lee Krasner and Helen Frankenthaler).

The seventy - eight items won't only turn the Met from a whistle stop into a Grand Central of early - twentieth - century art, it will almost certainly spark a general revaluation, in all ways, of the most consequential and least seductive modern - art movement....

One of the earliest collegiate art collections in the nation, it came into being through the 1811 bequest of James Bowdoin III of seventy European paintings and a portfolio of 140 master drawings.

Done between the late fifties and early seventies, Johnson's paintings of anonymous men were outsiders in art as they were in life.

This exhibit demonstrated the global impact of the Feminist Art Movement that Chicago helped initiate in the early seventies when she went to Fresno to create a Feminist Art Practice.

Pearlstein has been recognized in several museum exhibitions among which are: Philip Pearlstein: a Retrospective at Milwaukee Art Museum, which travelled to The Brooklyn Museum, NY, Pennsylvania Academy of Fine Arts, Philadelphia PA, and Toledo Museum, Toledo, OH, 1983 - 84; The Abstract Landscapes and Other Early Works on Paper, Butler Institute of American Art, Youngstown, OH, 1992; Philip Pearlstein Retrospective Exhibition: Works on Paper 1959 - 1994, University of Pittsburgh, Frick Fine Arts Building, 1995 - 96; Philip Pearlstein: World War II Paintings, Carnegie Museum of Art, Pittsburgh, PA, 1998 - 99; An Economy of Specific Bodies and Particular Objects: Philip Pearlstein Drawings, Frye Art Museum, Seattle, WA, 2005; Philip Pearlstein, The Dispassionate Body, Tweed Museum of Art, Duluth, MN, which travelled to the Michener Art Museum, Doylestown, PA, 2006 - 08; Philip Pearlstein: Objectifications, Montclair Art Museum, Montclair, NJ, 2008 - 9; Philip Pearlstein: Recent Works, Lyme Academy College of Fine Arts, Old Lyme, CT, 2009; Philip Pearlstein's People, Places, Things, Museum of Fine Arts, St Petersburg, FL, 2013; Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, 2014; Pearlstein Warhol Cantor: From Pittsburgh to New York, The Andy Warhol Museum, Pittsburgh, PA, 2015; Philip Pearlstein: Seventy - Five Years of Painting, Susquehanna Art Museum, Harrisburg, PA, 2017 among others.

Irwin, who has lived in San Diego for the past quarter century, is one of the last giants standing from a generation of artists who, in the early seventies, sought to bring the practice of visual art out of the studio, gallery, and museum and into the world.