Sentences with phrase «early twentieth century avant»

The exhibition is divided into chronological chapters, ranging from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

Not exact matches

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.

Despite leaving the country during the period of Perestroika, Roiter's artistic output retains a heavy hint of his Russian past: the recurring green that recalls the pervasive Russian military, the economy of forms and materials reflective of pervasive paucity, and traces of early twentieth century Russian avant - garde influences.

Russian Photography after the Revolution will feature rare, large - format gelatin silver prints by Boris Ignatovich (1899 - 1976), a master of the Soviet avant - garde; Arkady Shaikhet (1898 - 1959), widely considered to be the founder of Soviet photojournalism; and Aleksandr Rodchenko (1891 - 1956), perhaps the most acclaimed figure in early twentieth - century Russian art and design; as well as Abram Shterenberg (1900 - 1979), Georgy Petrussov (1903 - 1971), Semyon Fridlyand (1905 - 1964), Sergey Shimansky (1898 - 1972), Solomon Telingater (1903 - 1969), Emmanuil Evzerikhin (1911 - 1984), Yakov Khalip (1908 - 1980), and Georgy Zelma (1906 - 1984).

Many of the greatest avant - garde photographs of the early twentieth century were produced by young Japanese Americans on the West coast of the United States between the two World Wars.

Etta and Claribel Cone were ardent and early patrons of the French avant - garde, meeting Matisse, Pablo Picasso and other artists during their trips to Paris in the first decade of the twentieth century.

The addition of motion and sound brought new dimensions to the abstract art pioneered by Wassily Kandinsky and other avant - garde painters of the early twentieth century.

The collection has particular strengths in Ming and Qing dynasty Chinese painting, Mughal dynasty Indian miniature painting, Baroque painting, old master prints and drawings, early American painting, nineteenth - and early - twentieth - century photography, Conceptual art, international contemporary art, West Coast avant - garde film, international animation, Soviet cinema, early video art, and the largest collection of Japanese films outside of Japan.

As she told Artforum in 2011, «I'm thinking about moments in the early twentieth century when the avant - gardes were collaborating freely and cross-pollinating from music to theater to painting to poetry.»

It's an organization that enacts the bureaucratic fantasies of Kafka or the underground paranoia networks of Pynchon, and blurs these with the forms and procedures of early twentieth - century avant - gardes (manifestos, committees, declarations and denunciations, expulsions, etcetera).

In the now - derelict, early twentieth - century poured - concrete church of Dilston Grove, artists Ben Burgis, Stuart Middleton and Richard Sides have created their own version of the Mechanical Garden, curated by Naomi Pearce, an installation sketched out but not realised by late British avant - garde artist Stephen Cripps (1952 — 82).

New York, Solomon R. Guggenheim Museum; Baden - Baden, Staatliche Kunsthalle; and Bremen, Kunsthalle Bremen, Twentieth - Century American Drawing: Three Avant - Garde Generations, January - August 1976; Baltimore, The Baltimore Museum of Art; Detroit, The Detroit Institute of Arts; Chicago, Museum of Contemporary Art; New York, The Metropolitan Museum of Art; Amsterdam, Stedelijk Museum; Paris, Musee National d'Art Moderne, Centre Georges Pompidou; Cologne, Museum Ludwig; and Basel, Kunstmuseum Basel, Barnett Newman: The Complete Drawings, 1944 - 1969, April 1979 - July 1981, pp. 70 - 71, no. 19, illustrated in color and black and white (in different orientations)(Baltimore); n.p., no. 19, illustrated in color (Amsterdam); p. 13, no. 19, illustrated (Paris); p. 13, no. 19, illustrated in color (Cologne); p. 13, no. 19, illustrated in color (Basel) Providence, Rhode Island, Bell Gallery, Brown University; Worcester, Massachusetts, Cantor Art Gallery, College of the Holy Cross; and Southampton, New York, Parrish Art Museum, Flying Tigers: Painting and Sculpture in New York 1939 - 1946, April - July 1985, p. 78, no. 37, illustrated; Minneapolis, Walker Art Center; Saint Louis, The Saint Louis Art Museum; and New York, The Pace Gallery, The Sublime is Now: The Early Work of Barnett Newman, Paintings and Drawings 1944 - 1949, March - November 1994, p. 49, no. 17, illustrated in color and p. 20 (text)

The exhibition examines the history of the artist - orchestrated meal, assessing its roots in early - twentieth century European avant - garde art, its development over the past decades within Western art, and its current global ubiquity.

Return of the Repressed looks at how artists adopted, often at great personal risk, the styles of the early twentieth - century Russian avant - garde and other modernist styles in defiance of Soviet aesthetics.

He associates the aesthetic — and therefore political — self - determination of Percy's House of Style with De Stijl, an early twentieth - century avant - garde movement.

André Derain was a motivating force in the avant - garde developments of early twentieth - century painting, particularly Fauvism and Cubism.

Active in European avant - garde circles in the early decades of the twentieth century, Alexander Archipenko revolutionized and reinvigorated sculpture by reintroducing color, incorporating negative space, and integrating mixed media.

Born in Lewiston in 1877, Hartley played a role in the European avant - garde movement of the early twentieth century, spending extended periods of time in Paris and Berlin.

Echoing the formal and material innovations introduced by the historic avant - gardes in the early twentieth century, contemporary artistic practice has dethroned the eye as the hegemonic sense and reinstated hearing in a real and contingent body.

Highlights from each of these collections feature prominently in Visionaries and convey a narrative on avant - garde innovation in the late nineteenth and early twentieth centuries.

The medium of animation was first popularized in the early twentieth century and was adopted by both avant - garde artists seeking progressive social change, and by private companies seeking to better market their products and grant inanimate commodities «life.»