Sentences with phrase «for early modern art»

Wilson is displaying how Third World culture becomes a First World stereotype, just as with primitivism for early modern art.

Not exact matches

The dates, based on new excavations and state - of - the - art methods, push back the earliest solid evidence for humans in Australia by 10,000 to 20,000 years and suggest that modern humans left Africa earlier than had been thought.

To Ron Magliozzi, associate curator, and Peter Williamson, film conservation manager, of the Museum of Modern Art, for identifying and assembling the earliest surviving footage of what would have been the first feature film to star a black cast, the 1913 «Lime Kiln Field Day» starring Bert Williams.

For director Don Argott and producers Sheena Joyce and Lenny Feinberg, making THE ART OF THE STEAL about the fight over the Barnes collection of early modern art was a labor of loART OF THE STEAL about the fight over the Barnes collection of early modern art was a labor of loart was a labor of love.

Earlier this week Ubisoft unveiled a selection of teasers for Far Cry 5 ahead of the full reveal this coming Friday, May 26th, and now to further whet our appetites we have the official key art, dubbed «The Last Supper»... Given the weaponry on display, it looks like we have confirmation of a modern setting -LSB-...]

At the same time, however, by recycling and affirming in 1967 his own words from nearly a decade earlier, Sylvester suggests that we can celebrate Bomberg for his genuine accomplishments as a painter and teacher while frankly acknowledging his important, if limited impact in the history of modern art — an impact which is still being assessed today.

Untitled III carries over the shift in texture from opaque to virtually transparent tonality in the greys and blues in particular, as if the artist had absorbed the style of Sumi - e brush painting, as for example in the lithograph owned by the Museum of Modern Art, Wah Kee Spare Ribs, 1970, a medium with which de Kooning was preoccupied in the early years of the decade.

It's Whitney Biennial Season Again», The New York Times, March 7, 2004 (illus) Suzanne Cotter, «Soul Delay,» catalog essay for Real World, Modern Art Oxford, UK Manami Fujimori, «Artforum Sees and Talks: Art in the early 2000's, (interview with Tim Griffin)» Bijutsu Techo (BT), July 2004, (illus) Blake Gopnik, «Whitney Highlights,» Washington Post, March 14, 2004, (illus) Eleanor Heartney, «The Well - Tempered Biennial,» Art in America, June / July 2004 Bruce Hainley, «Notes on Renewed Appropriationisms, «Artforum, May, 2004 (illus) Michael Kimmelman, «Touching All Bases at the Biennial,» The New York Times, March 12, 2004 (illus) «Out of the Past: Tim Griffin talks with Whitney Biennial Curators,» Artforum, January 2004, p 57 (illus) Walter Robinson, «Building Codes,» Artnet Magazine, January 2004, (illus) Debra Singer, «The Way Things Never Were: The Way Things Never Were and the Unpredictable Past», catalog essay for Whitney Biennial, Whitney Museum, NY

The acquisition of an early Cubist collage is a major coup for the Scottish National Gallery of Modern Art, and made headlines when it was announced at the tail end of the month.

Before joining Tate Modern in 2015, Ireson was Rothman Family Associate Curator at the Art Institute of Chicago, where she was responsible for the exhibition and acquisition of 19th - and early - 20th - century works on paper.

New York's Pace Gallery, which specialises in modern and contemporary art, will open a temporary base in Soho early next year while it finalises plans for a permanent space.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

As Lobel states, «While the reference images for most of Lichtenstein's signature Pop paintings are now known, the source for Mr. Bellamy, an important early canvas in the collection of the Modern Art Museum of Fort Worth, has long gone unidentified.»

The video is about one of the earliest works by Medardo Rosso currently on view at CIMA Center for Italian Modern Art.

The Barnes Foundation is renowned for its astonishing collection of Postimpressionist and early Modern art assembled by Albert C. Barnes, a Philadelphia pharmaceutical entrepreneur.

Since the early 1990s, Roberts has exhibited internationally, including group exhibitions at Artists Space, New York; Helsinki Kunsthalle and the Museum of Contemporary Art, Helsinki, Finland; The Museum of Modern Art, Oxford, England; P.S. 1, Long Island City, NY; Bard College Center for Curatorial Studies, Annandale - on - Hudson, NY; and Bildmuseet Umeå, Umeå, Sweden.

But there were times when his average was less than one a month in his early career, the period focused on in a show at the Center for Italian Modern Art (on view through June 25, 2016).

He has written for Artforum (where he had a column in the late 1980s and early 90s), Screen, the New York Times, International Herald Tribune, the Economist among other newspapers and journals; and contributed essays to catalogues and associated publications at Documenta (Kassel), the Louvre (Paris), Stedelijk Museum (Amsterdam), Centre Pompidou (Paris), MoMA PS1 (NY), Tate Modern and Tate Liverpool, Reina Sophia (Madrid), Metropolitan Museum of Art (NY), The New Museum (NY), Albertina, Vienna, Museum of Contemporary Art (LA), LA County Museum of Art, Sydney Biennial, Venice Biennale, Vienna Museum of Contemporary Art, Contemporary Art Gallery (Vancouver), Ludwig Museum (Budapest), Haus der Kunst (Munich), Edinburgh Festival, and Museo Nacional de Bellas Artes de La Habana.

In 2017, Yale University Art Gallery exhibited and published the some of his earliest work, 1957 photographs of participants of the Prayer Pilgrimage for Freedom in Washington, D.C.. His work is held by major collections including Art Institute of Chicago;, George Eastman Museum; The Metropolitan Museum of Art; The Museum of Modern Art; The National Gallery of Art; San Francisco Museum of Art; the Whitney Museum of American Art, among many others.

In fact, two earlier works by Kelly make reference to a «large wall»: Color Panels for a Large Wall from 1951, and Sculpture for a Large Wall, 1957, both in the collection of the Museum of Modern Art, New York.

The book includes drawings from his 1917 sketchbook, Conventions for Abstract Thoughts; watercolors from 1916 - 18 that were the focus of the first one - person exhibition at The Museum of Modern Art, Germany, in 1930; camouflage designs from his tour in the army and wallpaper designs from the 1920s; watercolors from the 1940s showing the artist's unique technique of expanding and reworking earlier works by pasting large strips of paper around them to dramatically increase their size; and finally Burchfield's large, transcendental watercolours from the 1950s and 1960s.

Our modern notion of collaging, or papier - collé (French for glued or stuck paper), was ignited in the early twentieth century by artists such as Pablo Picasso (1881 — 1973) and Georges Braque (1882 — 1963), who incorporated various text, photographs, found objects, and paper into works of art, resulting in an entirely new medium.

At her solo show at Modern Art Oxford earlier this year, Himid featured paintings from a decade - long series for which she painted over pages of the Guardian, accusing the «liberal media» of «simultaneously visualising and making invisible black people's lives».

Between the early 1900s and the First World War, the exhibitions culminated with the presentation of some of the greatest names of art of that period: Egon Schiele, Oskar Kokoschka, Pablo Picasso, André Derain, Gustave Courbet, Édouard Manet, Marc Chagall, Henri Matisse, Georges Braque, Paul Klee and many others, which has laid the historical foundation for the international focus on the best expressions of fine arts of the modern time.

Curated and co-curated such exhibitions as «New National Art» (Museum of Modern Art in Warsaw); «Early Years» (KW Institute for Contemporary Art, Berlin); The Sculpture Park in Bródno, (incl.

The Museum of Modern Art has added to its pioneering collection of early computer and video game designs: the New York museum has paired up with the San Francisco Museum of Modern Art (SFMOMA) to acquire Susan Kare's sketches for the very first Macintosh computer icons from the early 1980s.

1910 is the official date given by Alfred Barr, founding director of New York's Museum of Modern Art, for the creation of the first abstract paintings, but Af Klint made her forays into abstraction four years earlier — in 1906.

Christie's most eye - catching lot of the week came in its Impressionist and Modern Art evening sale, however, in which $ 57.4 m was paid for La muse endormie, an early bronze sculpture by Constantin Brancusi from 1913.

鲁道夫 · 弗里林于柏林自由大学 （ Free University of Berlin ） 和德国希尔德斯海姆大学 （ University of Hildesheim ） 先后获得硕士和博士学位 ， 并于2006年受聘于旧金山现代美术馆 （ San Francisco Museum of Modern Art ） 担任媒体艺术策展人 。 其策划的展览包括在线档案 «媒体艺术网络» 及一些主要概览性展览, 如 «合作中 ： 媒体艺术收藏中的早期作品» （ In Collaboration: Early Works from the Media Arts Collection ） (2008); 讨论当代参与性实践历史的 «参与的艺术 ： 1950年至今» （ The Art of Participation: 1950 to Now ） （ 2008 ） 以及讨论视觉与表演艺术跨界的 «舞台呈现 ： 艺术与媒体中的戏剧性» （ Stage Presence: Theatricality in Art and Media （ 2012 ） 。 弗里林同时兼任加州艺术学院 （ California College of Arts ） 与旧金山艺术学院 （ San Francisco Art Institute ） 的教授职位 。 在旧金山现代美术馆 （ SFMOMA ） 任职前 ， 弗里林曾在德国卡尔斯鲁厄的艺术与媒体中心 （ ZKM Center for Art and Media ） 担任策展人与研究员 。 他目前在旧金山生活和工作 。

Having been closed for the past three years the expansion and reopening of The San Francisco Museum of Modern Art earlier this month has been met with jubilation.

«For the last two centuries,» said Katie Pfohl, NOMA's Curator of Modern and Contemporary Art, «American artists have captured many different conceptions of the country and its people, from colonial American portraits that showcase the country's early diversity, to the broad range of materials and forms to be found in 20th century American aArt, «American artists have captured many different conceptions of the country and its people, from colonial American portraits that showcase the country's early diversity, to the broad range of materials and forms to be found in 20th century American artart.

The 22 works in The Sympathetic Imagination exhibit, one of her first comprehensive museum exhibition in the US, spans from her work in the early»90s through 2015 was co-curated by Lynee Cooke, Senior Curator for Special Projects in Modern Art at the National Gallery of Art in DC and Christine Y. Kim, Associate Curator of Contemporary Art at LACMA with the Chicago exhibit coordinated by MCA's Chief Curator Michael Darling and Curatorial fellow Joey Orr.

Earlier this week, Christie's realized it's second highest total for an Impressionist and Modern evening sale, totaling $ 479.3 million in sales (with fees) on November 13, 2017 in New York, reported the Art Newspaper.

«Persian Jacket,» an early painting, was bought for the Museum of Modern Art by Alfred Barr.

By the early 1940s, Quirt had a built a national - level reputation, both for his painting and for his spirited defense of modern art as a writer and lecturer.

Issue Contents: John Singer Sargent's «Dorothy»; DMFA Recent Acquisitions; Dallas Arts District; Dallas Collects American Paintings: Colonial to Early Modern; Symposium on American Art Sponsored by the Education Department; Counterparts: Form and Emotion; Mexican Dance Masks; A Print History, The Bromberg Gifts; Concentrations VII: Deborah Butterfield; El Greco of Toledo Wins Universal Praise; DMFA League; Calendar of Events; DMFA Recent Loan; DMFA Education Department; DMFA Profile; DMA Featured in Whitney Exhibit; Patricia Johanson: A Project for the Fair Park Lagoon

Untutored or not, however, these typically ambitious, self - reflective early critical appraisals provide the basis for Rauschenberg's iconic position in modern art history, especially since Rauschenberg himself claimed that «today is their creator.10 Surely, then, the response of that audience to his work is significant.

Symposium subjects included, among other things, discussions of Alfred Stieglitz as a major proponent and supporter of early American Modernism, the ways in which art critic Clement Greenburg's definition of Modernism shaped thinking about this issue for generations yet was exclusive to issues of race, gender and politics, the role of photography figured prominently into the dissemination of the term «modern,» and the many ways photography has played a major role in shaping the history of Modernism in America.

In the early 20th century, Japanese artists reimagined traditional printmaking for the modern age, as revealed in a show at the Minneapolis Institute of Art.

«From very early on, if you look at Marclay's video work, there's always been a reference to the idea of sound,» points out Benjamin Weil, chief curator at Fundación La LABoral Centro de Arte y Creación Industrial in Gijón, Spain, who commissioned Marclay's work Video Quartet for the San Francisco Museum of Modern Art, in 2002.

During the early 1910s, as well as teaching himself photography on a five dollar Brownie camera, and undertaking photographic commissions for local architects, he also showed his paintings at important group shows, including the International Exhibition of Modern Art (Armory Show)(1913), the Forum Exhibition (1916), and the Society of Independent Artist's Exhibition (1917).

Deep in the current world recession, apparently far worse than that of the 30s and in post WWII Britain, and as gold prices head towards $ 5,000 (# 3,127) an ounce, curiously in Sotheby's Modern & Post-war British Art sale the estimated price for this piece exactly matches the earlier Christie's estimate.

-- Bonus: Visionaries: Creating a Modern Guggenheim, and Doug Wheeler: PSAD Synthetic Desert III / Guggenheim New York For anyone interested in learning the whys of modern art, and why anyone (particularly Solomon and Peggy) would want to collect it back in the early 20th century, this overview exhibition presents a lovely example of works by Calder, Juan Gris, Duchamp, Leger, Brancusi, Kandinsky, among other modern maModern Guggenheim, and Doug Wheeler: PSAD Synthetic Desert III / Guggenheim New York For anyone interested in learning the whys of modern art, and why anyone (particularly Solomon and Peggy) would want to collect it back in the early 20th century, this overview exhibition presents a lovely example of works by Calder, Juan Gris, Duchamp, Leger, Brancusi, Kandinsky, among other modern mamodern art, and why anyone (particularly Solomon and Peggy) would want to collect it back in the early 20th century, this overview exhibition presents a lovely example of works by Calder, Juan Gris, Duchamp, Leger, Brancusi, Kandinsky, among other modern mamodern masters.

New York (catalogue) Original Gagosian Gallery, New York New Portraits Blum & Poe, Tokyo (catalogue) Fashion Nahmad Contemporary, New York (catalogue) 2014 New Figures Almine Rech Gallery, Paris (catalogue) New Portraits Gagosian Gallery, New York It's a Free Concert Kunsthaus Bregenz, Bregenz (catalogue) Canal Zone Gagosian Gallery, New York Richard Prince / Roe Ethridge Gagosian Gallery, New York (catalogue) 2013 Monochromatic Jokes Nahmad Contemporary, New York (catalogue) Protest Paintings Skarstedt Gallery, London (catalogue) Untitled (band) Le Case D'Arte, Milan Richard Prince: New Work Jürgen Becker, Hamburg (catalogue) Cowboys Gagosian Gallery, Beverly Hills (catalogue) Sadie Coles HQ, London 2012 White Paintings Skarstedt Gallery, New York (catalogue) Four Saturdays Gagosian Gallery, New York 14 Paintings 303 Gallery, New York (catalogue) Prince / Picasso Picasso Museum, Malaga (catalogue) 2011 The Fug Almine Rech Gallery, Brussels (catalogue) Covering Pollock Guild Hall, Easthampton The Magic Castle 1968 - 1969 Le Consortium, Contemporary Art Center, Dijon (catalogue) Gagosian Gallery, Hong Kong de Kooning Gagosian Gallery, Paris (catalogue) American Prayer Bibliothèque nationale de France, Paris (catalogue) Bel Air Gagosian Residence, Los Angeles 2010 Pre-Appropriation Works, 1971 — 1974 Specific Objects, New York T - Shirt Paintings: Hippie Punk Salon 94, New York (catalogue) Tiffany Paintings Gagosian Gallery, New York (catalogue) 2009 After Dark Gagosian Gallery, New York 2008 Canal Zone Gagosian Gallery, New York (catalogue) Galerie Patrick Seguin, Paris (catalogue) Continuation Serpentine Gallery, London Four Blue Cowboys Gagosian Gallery, Rome Gagosian Gallery, London Spiritual America Walker Art Center, Minneapolis 2007 Spiritual America Solomon R. Guggenheim Museum, New York (catalogue) Panama Pavilion 52nd Venice Biennale, Venice Fugitive Artist: The Early Work of Richard Prince, 1974 - 77 Neuberger Museum of Art, Purchase Canaries in the Coal Mine Astrup Fearnley Museum, Oslo (catalogue) 2006 Cowboys, Mountains, and Sunsets Sprüth & Magers, Cologne The Portfolios Jürgen Becker, Hamburg Cowboys & Nurses John McWhinnie at Glenn Horowitz, New York 2005 Hippie Drawings Sadie Coles HQ, London (catalogue) Whitechapel Gallery, London Barbara Gladstone Gallery, New York Check Paintings Gagosian Gallery, Beverly Hills (catalogue) 2004 American Dream, Collecting Richard Prince for 27 Years Rubell Family Collection, Miami (catalogue) Sammlung Goetz, Munich (catalogue) Galerie Eva Presenhuber, Zurich (catalogue) Women Regen Projects, Los Angeles (catalogue) 2003 Nurse Paintings Barbara Gladstone Gallery, New York (catalogue) Upstate Sabine Knust, Munich New Work Glenn Horowitz Bookseller, East Hampton Publicities Hydra Workshop, Hydra Island (catalogue) Nurse Paintings Sadie Coles HQ, London 2002 Barbara Gladstone Gallery, New York (catalogue) Principal Painting and Photographs Kunstmuseum Wolfsburg, Wolfsburg Painting Kunsthalle Zürich, Zurich Patrick Painter, Inc., Santa Monica 2001 Museum für Gegenwartskunst, Basel (catalogue) Publicities Sadie Coles, HQ, London (catalogue) Regen Projects, Los Angeles Photographs 1977 - 1979 Skarstedt Fine Art, New York (catalogue) Galerie Micheline Szwajcer, Antwerp Neue Galerie im Höhmann - Haus, Augsburg 2000 Princeville Partobject Gallery, Carrboro Barbara Gladstone Gallery, New York Photographs, Paintings Jablonka Galerie, Cologne 4x4 MAK, Vienna Up - state MAK Center for Art and Architecture, Schindler House, Los Angeles 1999 Paintings 1988 - 1998 Sadie Coles HQ, London 1998 Regen Projects, Los Angeles Joke Paintings Skarstedt Fine Art, New York Psychoarchitecture: Richard Prince, Martin Kippenberger Anton Kern Gallery, New York Barbara Gladstone Gallery, New York Sabine Knust - Maximilian Verlag, Munich Stills Ltd., Edinburgh 1997 The White Room Jürgen Becker, Hamburg; Parco, Tokyo White Cube, London Museum Haus Lange / Museum Haus Esters, Krefeld Cowboys and Cowgirls Espace d'Art Yvonamor Palix, Paris 1996 Sabine Knust - Maximilian Verlag, Munich Passion Play Haus der Kunst, Munich New Works Jablonka Galerie, Cologne 1995 Paintings Barbara Gladstone Gallery, New York Theoretical Events, Naples Regen Projects, Los Angeles 1994 Photographs 1977 - 1993 Kestner Gesellschaft, Hanover (catalogue) Offshore Gallery, East Hampton 1993 Galerie Micheline Szwajcer, Antwerp Fotos, Schilderijen, Objecten Museum Boijmans Van Beuningen, Rotterdam Girlfriends Jablonka Galerie, Cologne (catalogue) Barbara Gladstone Gallery, New York San Francisco Museum of Modern Art, San Francisco First House Stuart Regen Projects, Los Angeles 1992 Kunstverein and Kunsthalle, Dusseldorf Whitney Museum of American Art, New York (catalogue) Protest Paintings Sabine Knust - Maximilian Verlag, Munich Beaver College Art Gallery, Glenside Works on Paper Le Case d'Arte, Milan 1991 Barbara Gladstone Gallery, New York Galleri Nordanstad — Skarstedt, Stockholm Galerie Ghislaine Hussenot, Paris Stuart Regen Gallery, Los Angeles 1990 Jokes, Gangs, Hoods Galerie Rafael Jablonka and Galerie Gisela Capitain, Cologne Galerie Micheline Szwajcer, Antwerp Arthur Roger Gallery, New Orleans 1989 Spiritual America IVAM Center del Carme, Valencia (catalogue) Sculpture Barbara Gladstone Gallery, New York Paintings Jay Gorney Modern Art, New York Barn Gallery, Ogunquit Daniel Weinberg Gallery, Los Angeles 1988 Galerie Rafael Jablonka, Cologne Barbara Gladstone Gallery, New York (catalogue) Centre National d'Art Contemporain de Grenoble, Grenoble Le Case d'Arte, Milan Galerie Ghislaine Hussenot, Paris Messages to the Public: Tell Me Everything Public Art Fund, Times Square, New York 1987 Galerie Isabella Kacprzak, Stuttgart Daniel Weinberg Gallery, Los Angeles 1986 International with Monument, New York Feature Gallery, Chicago 1985 International with Monument, New York Richard Kuhlenschmidt Gallery, Los Angeles 1984 Riverside Studios, London Feature Gallery, Chicago Baskerville + Watson, New York 1983 Le Nouveau Musée, Lyon (catalogue) Le Consortium, Contemporary Art Center, Dijon Institute of Contemporary Art, London Richard Kuhlenschmidt Gallery, Los Angeles Baskerville + Watson, New York 1982 Metro Pictures, New York 1981 Metro Pictures, New York Richard Kuhlenschmidt Gallery, Los Angeles 1980 Artists Space, New York CEPA Gallery, Buffalo

With Kurt Schwitters as an early reference, Twombly is affected by European modern art as an ideal of uncompromising self - expression, and a feel for the poetry in the most humble substances.

This volume documents recent installations for the 52nd Venice Biennale and Documenta 12 in 2007 and a project for the San Francisco Museum of Modern Art, as well as earlier works.

Also included are an early interview from 1971, published for the first time in English, and a previously unpublished conversation with Michael Auping, Chief Curator of the Modern Art Museum of Fort Worth.

By the early 1980s, Pace was fully established as one of the city's premier modern and contemporary art venues for painting, sculpture, video, and installation art.

One of the earliest modern painters inspired by the art and philosophy of the Far East, Julius Bissier is best known for his abstract ink paintings.

Despite Walther's studies at the Kunstakademie Düsseldorf in the early 1960s, a hotbed of European artistic talent that bred classmates such as Gerhard Richter; despite his subsequent four - year immersion in New York City, similar to stays that propelled fellow Germans such as Hanne Darboven to statewide institutional recognition; and despite his participation in seminal shows, including the Museum of Modern Art's «Spaces» in 1969 and Harald Szeemann's Documenta 5 in 1972, North America has still been slow to recognize Walther's significance for the expansion of painting,