Anton Vidokle
engages modernist traditions in works that explore the persistence and failures of utopian ideals.
Not exact matches
Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are
engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of
tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the
modernist tradition.
Local artist, Tammi Campbell's practice
engages with the
traditions of
Modernist and Minimalist painting.
Parallel to this great
modernist tradition there is also an explicitly Brazilian conceptual art that was less dogmatic and structuralist than its counterparts in Europe and North America, but more open, more poetic and more politically
engaged, as we can see in the works of Cildo Meireles.
In parallel with this great
modernist tradition is also an explicit Brazilian conceptual art that was less dogmatic and structuralist than their counterparts in Europe and North America, but more open, more poetic, more politically
engaged, as we can see in the works of Cildo Meireles and Vik Muniz.
Price's work has an interesting and ambiguous relationship with the
traditions of western sculpture, which he
engages with and manipulates in order to perform a volte - face from the position taken by many white
modernists pursuing the lure of tribal sculpture.
Since the 1980s, Koether has
engaged in an intimate «battle» against painterly
tradition, developing a defiant artistic practice able to sketch out a counterhistory of the
modernist, male - dominated and heteronormative canon.
Her work
engaged a range of art movements, including surrealism, Abstract Expressionism, the Northern California
modernist tradition represented by Adams and White, as well as the broader American landscape
tradition embodied in the photographs of Harry Callahan and Ralph Eugene Meatyard.