Sentences with phrase «early visual artists»

Informed by the interdisciplinary practices of earlier visual artists who engaged the applied arts, poetry, theater, and dance, she merges the rarified tradition of abstraction with techniques and materials common to decor and craft.

Not exact matches

Artists, too, have used light since the earliest days of visual representation — creating photographs, conveying meaning, and revealing unseen elements.

When it comes to bringing the 14th MCU film to the screen, Feige is in no doubt where the unique challenges lay: «Doing justice to the amazing visuals of artist Steve Ditko, who drew the early Dr Strange books.

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This is a short visual display of how perspective developed from the early Medieval paintings through the key artists in the Renaissance: Giotto, Masaccio, Brunelleschi, Leonardo and then the Dutch artists and then to Cubism.

The exhibition begins chronologically, spanning the artist's oeuvre from the early 1940s, straight through the late 1960s, offering a penetrating glimpse at the progression of his visual language.

Fine Arts Work Center Location: Provincetown, MA The Fine Arts Work Center offers a unique residency for writers and visual artists in the crucial early stages of their careers.

The nine established and emerging artists were picked from a pool of 40 artists who were showing in a group exhibition organized by the AAAL, «Invitational Exhibition of Visual Arts,» which opened in New York earlier this month.

Mark Mothersbaugh joins exhibition curator Adam Lerner, Director, Museum of Contemporary Art Denver, in this wide - ranging conversation focusing on the artist's career in both music and visual art, from his early, pre-DEVO decals to his recent music - making machines.

His involvement in the early 1960s with Judson Dance Theater, New York, an experimental collective that included dancers as well as visual artists, resulted in performances free of narrative, emphasizing instead the purity of movement — sometimes conventionally dance - like, but also mundane movements, allowing untrained performers to participate side by side with professional dancers.

The earliest origins of Pop art can be traced to the mid-to-late 1950s in Britain and the United States, where artists such as Eduardo Paolozzi, Richard Hamilton, Robert Rauschenberg and Jasper Johns combined visual aspects of advertising, comic books, and popular culture with theoretical elements of Dada and Surrealism.

Since the early 1990s, Los Angeles — based artist Uta Barth has examined photographic and visual perception — how the human eye sees differently from the camera lens and how the incidental and atmospheric can become subject matter in and of themselves.

Joan Jonas is an American visual artist and a pioneer of video and performance art who is one of the most important female artists to emerge in the late 1960s and early 1970s.

T03690, however, was the only «painting - poem» of the immediate pre-War years, a rare effervescence of the artist's interest in the idea of the equivalence of visual and verbal imagery that had fueled his earlier series of «painting - poems» of c. 1925.

The choreographer on his early work with Merce Cunningham and collaborations with visual artists.

For example, Jean - Michel Basquiat, who began his career as a graffiti artist but became internationally famous in his early 20s, developed a personal visual vocabulary that repeats throughout his oeuvre.

«Godfried Donkor is a mid-career Ghanaian artist whose residency at Gallery 1957 in Accra resulted in a visual dialogue about the early 19th - century English explorer of the Ivory Coast, Thomas Edward Bowdich.

Well, when you look at the early manifestos of abstraction, simply being non-figurative was among the highest values — if something was still at all discernibly based in visual reality, the feeling was that the artist wasn't pure enough.

and with a wonderful grant from the Andy Warhol Foundation for the Visual Arts and in early partnership with Director Chris Bedford from the Rose Art Museum at Brandeis University, we invited curators Ilana Tenenbaum, Sergio Edelsztein, Avi Feldman and artist Yael Bartana to curate four one - hour long chronological sections of Staring Back at the Sun suited to their areas of expertise.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

Jewish Museum Members are invited to an early Members - only viewing of Chaim Soutine: Flesh, featuring Soutine's remarkable paintings depicting hanging fowl, beef carcasses, and rayfish, imbued with the unique visual conceptions and painterly energy that the artist brought to the tradition of still - life, considered among his greatest artistic achievements.

Throughout the early 20th century, artists were radically breaking with all traditions in art, inventing a new visual language that responded to the experience of living in a new century.

There he was introduced to the work of Mark Gertler, Henry Moore, Augustus John and other prominent English artists of the time whose emphasis on visual acuity and technical skill would have a major effect on Mead and accounted for the restraint of his early paintings.

Beirne has exhibited extensively and to great acclaim since the early 1970s at institutions including P.S. 1 Contemporary Art Center, New York; the National Center for Contemporary Art in Kaliningrad, Russia; TV Gallery, Moscow; MIT List Visual Arts Center, Cambridge; the Sculpture Center, New York; the International Center of Photography, New York; The Whitney Museum of American Art, New York; Anthology Film Archives, New York; the New Museum of Contemporary Art, New York; and Artists Space, New York among many others.

For the first time, the book's author, Miguel de Baca, joins the artist's daughter, Alexandra Truitt, in a conversation about the artist's early ambitions as a writer and visual artist, her gravitation toward the theme of memory that ultimately transformed her practice, and the resonances that her extraordinary body of work has for us today.

From our early beginnings in the rural Village of Rouses Point in upstate New York to the vital impact we have made as the first non-profit to encourage and present the artists of the now thriving community of Bushwick, our journey as well as our mission remains unchanged: to create, promote and present collaborations among the visual, literary and performing arts, to connect emerging artistic communities and foster the imaginative energy in us all.

Although early abstract artists were met with criticism, they spearheaded a revolution in the visual arts that developed and influenced artists throughout Europe, America, and Latin America.

This exhibition will be the third installment of the series, which began in 2015 with an exhibition curated by visual artist and composer Mark Mothersbaugh, and continues in early 2017 with an exhibition curated by contemporary artist and filmmaker Julian Schnabel.

One of the questions that shaped this exhibition early on was whether the customary curatorial approach of P.S. 1, with its fast - paced process and focus on living artists as well as the rustic architecture of the former schoolhouse, would offer a different visual setting for work ordinarily seen in the minimal white galleries of MoMA.

Ossorio's work of the early 1940s was dominated by still lifes, landscapes, and portraits executed with haunting detail and an unnerving precision of line in a visual style that the artist has characterized as «a kind of super-realism».

Emerging with the Pictures Generation artists in the early 1980s in New York, Wachtel has worked with juxtaposition and the visual language of mass culture for the last 30 years.

As early as 1969, Mohr began using algorithms to explore new territories in the visual arts, and in 1971 was the first artist to be presented in a solo exhibition in a Museum with works entirely calculated and drawn by a digital computer.

Indeed, the repeated motifs of cilia - like forms in this work can be traced back to earlier works in the artist's prolific oeuvre, which have become even more prevalent in her recurring visual vocabulary in recent years.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

The Pompidou may largely be closed but it's not idle: Among recent undertakings, it has organized this exhibition of roughly a hundred paintings and drawings, charting the early development of the pioneering modernist, who conceived of abstraction in purely visual terms, quite distinct from the spiritual motivations of early nonobjective artists such as Kandinsky and Mondrian.

Other early exponents of radical change in the Italian visual arts include proto Arte Povera artists: Alberto Burri, Piero Manzoni, and Lucio Fontana and Spatialism.

After moving to Trinidad from London in 2005, Ofili's work took a new direction and prompted «The Blue Rider» series, which takes its name from the early 20th century artist group that sought spirituality by connecting visual art with music.

As a research fellow at MIT's Center for Advanced Visual Studies (CAVS) and artist - in - residence at Boston's public television station WGBH, he began to develop new forms of interdisciplinary work and integrated forms of visual information that now stand as significant experiments in early new mediVisual Studies (CAVS) and artist - in - residence at Boston's public television station WGBH, he began to develop new forms of interdisciplinary work and integrated forms of visual information that now stand as significant experiments in early new medivisual information that now stand as significant experiments in early new media art.

If early efforts by video pioneers such as Nam June Paik, Bruce Nauman and David Hall took the definition of an art object beyond its conventional parameters as a static entity produced for visual consumption, perhaps the greatest strength of video art triumphed in this show is the unprecedented potential of experiential interactivity between artist, installation and spectator.

Riley's formally taut, abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature.

Radical Presence provides a critical framework to discuss the history of black performance traditions within the visual arts beginning with the «happenings» of the early 1960s, throughout the 1980s, and into the contemporary practices of a new generation of artists.

Jan is a visual artist, director, writer, and founder of Early Morning Opera, a genre - bending performance + art lab whose works explore emerging technologies, live audiences, and unclassifiable experience.

This exhibition marks the Museum's third installment of its Artists Select series, which began in 2015 with an exhibition curated by visual artist and composer Mark Mothersbaugh, and continues in early 2017 with an exhibition curated by contemporary artist and filmmaker Julian Schnabel.

Early US artists painted the west as a fantasy land of wagon trains and cowboys, creating the visual myths that later fed the imaginations of film - makers.

These early and rarely seen works, gathered from private collections, reveal the artist's search for a visual vocabulary with repeated motifs of male torsos and branching crack - like lines.

Her experience with transnational and intergenerational artists» projects with Simone Leigh and Black Women Artists for Black Lives Matter, Naeem Mohaiemen, and Wael Shawky demonstrate an early commitment that mirrors ICA's: critical dialogue, research, and spotlighting artists» imbrication of visual pleasure, social movements, and expanding cultural hisartists» projects with Simone Leigh and Black Women Artists for Black Lives Matter, Naeem Mohaiemen, and Wael Shawky demonstrate an early commitment that mirrors ICA's: critical dialogue, research, and spotlighting artists» imbrication of visual pleasure, social movements, and expanding cultural hisArtists for Black Lives Matter, Naeem Mohaiemen, and Wael Shawky demonstrate an early commitment that mirrors ICA's: critical dialogue, research, and spotlighting artists» imbrication of visual pleasure, social movements, and expanding cultural hisartists» imbrication of visual pleasure, social movements, and expanding cultural histories.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

At the front of the gallery, a group of 16 silver gelatine prints by artist George Platt Lynes — who became American Ballet Theater's official photographer in 1934 — reveal the exhibition's most explicit interchange between a clandestine visual language of homosexual erotics and the cool formalism of early ballet photography.

Young Collectors Contemporary (YCC) is a program originally developed to stimulate the arts economy to support early stage visual artists.

Many of the gallery artists were founders of and early practitioners of Op Art and exploring visual perception.