Sentences with phrase «garde of the twentieth century»

Organized chronologically and subdivided into categories of the extremely broad creative oeuvre of Lucio Fontana (Rosario de Santa Fé, 1899 — Varese, 1968), one of the leading exponents of the international artistic avant - garde of the Twentieth century, this general annotated catalog of sculpture, painting, and «Ambientazioni» presents a rigorous historical and critical profile of the creative corpus of the artist «of the two worlds» at his highest expressive intensity and quality.»

Currently, the dreams of the socially engaged avant - garde of the twentieth century can be neither fulfilled nor abandoned, leaving it suspended between bread and roses.

Not exact matches

The priority of the radical revolutionary implication of the term «avant - garde» rather than the purely esthetic one more usually applied in the twentieth century, and the relation of this political meaning to the artistic subsidiary one, is again made emphatically clear in this passage by the Fourierist art critic and theorist Laverdant, in his De la Mission de l'art et du rôle des artistes of 1845:

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.

A fully illustrated catalogue featuring an essay by Kirstin Hübner titled Paths of American Abstraction: The Pioneer Spirit of the Twentieth - Century American Avant - Garde, accompanies the exhibition.

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.

A French - American painter, sculptor, chess player and writer whose work has been associated with Dadaism and many other avant - garde movements, Marcel Duchamp is commonly considered as one of the artists who helped define the revolutionary developments in plastic arts in the begining of the twentieth century.

One can also trace a lineage within the context of the twentieth - century Brazilian avant - garde.

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.

Trained in twentieth - century Modernist avant - garde movements, she has continued her investigations of subcultures, outsider artists, and emerging art movements with such original work as the essay «A Partial and Incomplete Oral History of the Mission School» in the BAMPFA catalog Barry McGee; the exhibition catalog Energy That Is All Around; and the introduction to Bruce Conner: The Afternoon Interviews.

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.

Using the Utopian rhetoric typical of twentieth - century avant - gardes, he wrote of a desire to escape the bounds of a social system that rewards conformity and limits experience, and argued, in stridently Marxist terms, that this system forces artists into producing bourgeois objects for an art market that requires the stability of the assembly line.

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.

With a profound knowledge and understanding of the history of twentieth - century avant - gardes, experimental music, and cinema, Aitken's art embraces a collaborative spirit across disciplines.

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).

The first exploration of this essential lineage encompasses dance, avant - garde composition, popular music and subcultures, and rhythmic video editing from the twentieth century to the present day.

Her areas of research and teaching interest span the modern Americas, with an emphasis on the art of twentieth - century Cuba and Puerto Rico, the transnational history of abstraction, and the postwar avant - garde.

Michael Rosenfeld Gallery, known for reevaluating twentieth - century American art, is pleased to present its first solo exhibition featuring the avant - garde abstract paintings of Louis Stone (American, 1902 - 1984).

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 longstanding secrecy surrounding Gerstl's dramatic and untimely suicide at the age of 25, and the scandalous love affair that preceded his death, only further magnify the legend that has grown around this lesser known, but influential member of Vienna's artistic avant - garde at the turn of the twentieth century.

Burgoyne Diller, among the most significant American abstract artists of the twentieth century, is regarded as a leader of the avant - garde in the 1930s and a forefather of the 1960s Minimalist movement.

With Professor Eric Hobsbawm, eminent historian and author of Behind The Times: The Decline and Fall of the Twentieth Century Avant - Gardes; Frances Morris, specialist in contemporary art and Art Programme Curator for the Tate Gallery of Modern Art.

* The retrospective CAROLEE SCHNEEMANN — KINETIC PAINTINGS brings together six decades of work by this key figure of New York's avant - garde in the second half of the twentieth century.

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.

Although Black Mountain College, the legendary postwar incubator for the avant - garde, launched the careers of many twentieth - century luminaries who would eventually enjoy international renown, the sculptor Ruth Asawa (1926 - 2013) never quite became a household name — instead, her oeuvre has so habitually been relegated to the household.

Selected projects she has commissioned, produced and realised with Electra include 27 Senses (Kunstmuseet KUBE, Norway, 2009), Art Now Live (Tate Britain, 2007), Perfect Partner by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre, 2005), Her Noise (South London Gallery, 2005), Sound And The Twentieth Century Avant - Garde lecture series (Tate Modern, 2004), Sounds Of Christmas by Christian Marclay (Tate Modern, 2004), Emotional Orchestra and Sheer Frost Orchestra by Marina Rosenfeld (Tate Modern 2005/06).

His moving imagery of marine life, in particular, commanded the respect of many renowned avant - garde artists working in 1920s Paris (Luis Buñuel, Sergei Eisenstein, Man Ray and Alexander Calder), at the beginning of a life - long career that almost spanned the twentieth century.

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.

Dr. Mandelbaum, a humanities graduate of Wesleyan University, was a respected New York internist who loved Broadway, jazz, classical, and twentieth - century avant - garde music.

Titled «Modern Art Despite Modernism,» the show had a worthwhile goal: to acknowledge artists who had made contributions to twentieth - century art out - side of modernism's avant - garde.

His major writings include Clement Greenberg: Art Critic (1979), The Cult of the Avant - Garde Artist (1993), Health and Happiness in Twentieth Century Avant - Garde Art (1996), Redeeming Art: Critical Reveries (2000), and The End of Art (2004).

Henri Matisse (1869 - 1954) One of the major references of avant - garde art from the beginning of the twentieth century, noted (in his plastic art) for statues, figurines and low - reliefs.

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.

Considered one of the great innovators of the twentieth - century avant - garde, Rodchenko continues to influence future generations of artists.

Her many areas of interest in twentieth - century avant - garde literature and art include Surrealism, poets René Char and André Breton, Virginia Woolf and the Bloomsbury group, and artists Robert Motherwell, Joseph Cornell, and Pablo Picasso.

In the 2009 Tate Modern catalogue, Rodchenko and Popova: Defining Modernism, Magdalena Dabroski concurred, «Along with Kazimir Malevich, Vladimir Tatlin, and Alexander Rodchenko, she stands out as one of the four most accomplished artists of the Russian avant - garde in the first quarter of the twentieth century.»

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.»

With a selection of works by artists such as Victor Brauner, Max Ernst, and René Magritte, the museum enjoys a reputation for having an exceptional representation of Surrealist art - the twentieth - century avant - garde movement in art and literature that sought to release the creative potential of the unconscious mind.