Sentences with phrase «formal meaning of art»

Not exact matches

This is art that is made, to a certain extent, in the image of Clement Greenberg's take on the meaning of color and material in painting, reducing it to purely optical or formal concerns.

Her works continue to inform his artistic formal language as well as his radical use of material objects and inquiries into the meaning of art.

They were supported by probably the most influential art critic in the twentieth century Clement Greenberg, who emphasised the importance of the formal properties of art — such as colour, line and space — over subject or meaning

French artist Jean Dubuffet coined the term Art Brut, meaning «raw art», to describe unconventional art made outside of established art institutions by artists without formal artistic education, «where the worries of competition, acclaim and social promotion do not interfere&raquArt Brut, meaning «raw art», to describe unconventional art made outside of established art institutions by artists without formal artistic education, «where the worries of competition, acclaim and social promotion do not interfere&raquart», to describe unconventional art made outside of established art institutions by artists without formal artistic education, «where the worries of competition, acclaim and social promotion do not interfere&raquart made outside of established art institutions by artists without formal artistic education, «where the worries of competition, acclaim and social promotion do not interfere&raquart institutions by artists without formal artistic education, «where the worries of competition, acclaim and social promotion do not interfere».

With a broad formal range, Ai has continuously challenged possible meanings and modes of art making, most recently employing the Internet and its global reach as a platform for activism and expression.

For the most part the critical mass welcomed this return to realism and their passive disregard for homegrown modernism had knock - on effect; lack of attention led to public's lack of understanding, constituting what Davis would call the «cultural monopoly» he saw to be taking place in the U.S. Genuine efforts had been made to incorporate new formal elements and meanings into art but this progressive aesthetic spirit had eventually waned in the face of cultural provincialism, which was being «exploited... at the expense of progress.»

As pertaining to the meaning of the word «formalism», the formal analysis of the work of art refers to description of purely visual elements.

Minimalism's impact on subsequent generations of contemporary artists begins with Postminimalism, which utilized the movement's deliberate paucity of formal means to explore a range of concerns including process, the dematerialization of the object, the performative nature of art, and the structural properties of light.

The Irish - American painter has been reinterpreting abstract art since the 1960s, not as a purely formal exploration of color, form, planes, structure, body and light, but as a medium whose means of expression is tied to external and internal moods, literary influences and physical experiences.

One way a work of art takes on meaning is when its formal, pictorial patterns resonate with systems of attention in the larger world.

Landfield discusses the origin, formal, and meaning of these color bars in functional, art historical, and political terms.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

Concerned with formal and material invention and in happenings outside the sphere of marketable art, his work explores complex questions of creativity, the role of the artist, and the meaning of art.

From applied arts to paintings, aspects of graphic / industrial design and functionalism, the erratic nature of his work embodies the sense of impermanence, doubt, and transformation that he considers implicit to the act of creating, both in its formal content and its potential for generating meaning.

Mobilizing formal tactics through the lexicons of magic, Kaino blurs both theoretical and methodological approaches to conceptual art»» giving way to a complex and layered environment where the critical apparatus of art history is charged with multiple points of access for new audiences and for new compositions of meaning.

This meant that his art leaned both toward the problems of formal abstraction and toward a more traditional notion of conceptualized subject matter.

The artists are ready to trade having completed their formal training, set to surge into the global art market without any focused means of sharing their hopes and dreams in an accessible platform.

Employing formal and textual elements that frequently contradict and alter relationships with one another, Derek Sullivan draws upon overlapping histories of modernist design, abstraction and conceptual art to unsettle notions of meaning and authorship.

In both of his best - known books — Concerning the Spiritual in Art (1912) and Point and Line to Plane (1926)-- he displays a remarkable ability to reconcile the redemptive power of art's «inner pulsations,» meant to be experienced «with all one's senses» and exacting diagrams of the formal effect of different colors, shapes and lines, each of which he felt had a distinct souArt (1912) and Point and Line to Plane (1926)-- he displays a remarkable ability to reconcile the redemptive power of art's «inner pulsations,» meant to be experienced «with all one's senses» and exacting diagrams of the formal effect of different colors, shapes and lines, each of which he felt had a distinct souart's «inner pulsations,» meant to be experienced «with all one's senses» and exacting diagrams of the formal effect of different colors, shapes and lines, each of which he felt had a distinct sound.

There has been much healthy art production in many different parts of the country that have been ignored or back - seated by New York — honored in their own communities but inevitably corralled under the term «regional» (which usually means work which doesn't follow the formal Modernist line traced from Paris to New York).

The in - depth analysis of the chosen fifteen artists — Winsor McCay, Lyonel Feininger, George Herriman, E.C. Segar, Frank King, Chester Gould, Milton Caniff, and Charles M. Schulz at the Hammer Museum, and Will Eisner, Jack Kirby, Harvey Kurtzman, R. Crumb, Art Spiegelman, Gary Panter, and Chris Ware at MOCA — is meant to inspire the kind of concentrated viewing that will bring out the central contributions of each, as well as the formal innovations that make their work unique.

One of the pivotal photo - makers to emerge in the last half of the twentieth century, he rose to prominence in the 1970s by photographing everyday scenes, countering the notion that photography had to follow pictorial or dogmatically formal means in order to be perceived as art.