Sentences with phrase «high modernism as»

That first showing of his late figurative paintings had been assailed by critics and admirers of high Modernism as an act of heresy, a fully - fledged betrayal of abstract painting.

Not exact matches

Of course the response is condemned as a philistine reaction against today's so - called high culture, which has, for the most part, descended into a self - indulgent and transgressive vulgarity far removed from the panache and imagination of an earlier modernism.

Today Roman Catholic philosophy and Protestant Modernism affirm rationality as a high value in human life.

The earliest streams of Romantic modernism found this source in a high view of Nature, with the person as part of the natural order.

But it is Muriel's deft combination of high modernism and leftist critique — bearing out Gilles Deleuze's comment that Resnais and Straub - Huillet are the most political filmmakers — that has influenced so many subsequent films, including Michael Haneke's Caché and, most extensively, Jean - Luc Godard's 2 or 3 Things I Know About Her, which JLG called a «partner» to the Resnais, and which features a poster of Muriel as homage, also condemns a criminal war (Vietnam), and similarly parallels a portrait of a woman with that of a city under urban renovation.

I want you to think about the seductive nature of the pharmaceutical industry as well as the purist and transcendental language of high modernism when you look at them.

Saddest of all, the multinational institution of high Modernism comes off as a dead end.

I left at 5 because I wanted to get home to write about the exhibition of Josef Albers Paintings on Paper, an exhibition at the Morgan Library closing this weekend — in that decision were multiple ironies, that I was leaving a fashionable art event inimical to painting in order to write about an artist who in fact I had always seen as didactic in a way that could be seen as part of the repressive politics of high modernism which contributed to my move towards feminism as a young artist.

Over time, language - based conceptualism became his primary concern, as notions of high art modernism gave way to the fraught cultural atmosphere of the time — one profoundly affected by AIDS...

Its critique renewed the High Renaissance, just as Postmodernism, ironically, has kept Modernism alive.

The title references the period of high modernism but also, more specifically, the dates of two historical anecdotes that serve as conceptual touchstones for his current sculptures.

[40] Although to presuppose that modernism stands for «high art» only, and is in any way certain as to what constitutes «high» art is to profoundly and basically misunderstand modernism.

As a postscript, «High Times, Hard Times» — a quirky survey of abstraction from those same years — further explores the conundrum of art after Modernism.

As an idea, formalism reached its peak in the period of high modernism, between the last decades of the 19th and first half of the 20th century.

Since the turn of the century, cultural connections between artists of the major European cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism.

Hilla Toony Navok's work explores themes of high Modernism and abstraction as they appear in consumer products, as a way of examining the ideological underpinnings of design and the assimilation of the history of Modernism in contemporary consumer culture.

In fact, the terms of French painting in the 20th century were so high as to lift even academic practitioners of modernism into a place of high critical regard.

The sculptural objects and installations he has produced refer to topics as varied as High Modernism, topical issues, the landscape — both physical and cultural — as well as music, jokes and cartoons.

Of all the art - historical insurgencies against the high ideals of Modernism, then, few seem so radical or so far - reaching in their ambition to turn the tables as the Centre Georges Pompidou's summer 1996 exhibition «L'Informe: mode d'emploi» (The formless: instructions for use).

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmHigh School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

So conspicuous has been Michael Fried's profile as high Modernism's most forceful and articulate standard - bearer that the detailed substance underlying this reputation has been more often assumed than examined or reexamined.

Not afraid to gather inspiration from sources such as Brazilian folk arts and decoration, Milhazes embraces these «low» art influences and balances them with the high - minded modernism that was brought to Latin America by an earlier generation of artists such Helio Oticica and Tarsila do Amaral.

Best known for her exquisite, colorful paintings full of references as diverse as folk art, Carnival decorations, sixties psychedelia, jewelry, embroidery, colonial Baroque imagery, and high Modernism, Milhazes has recently been diversifying her art practice through her exploration of prints and collage, theatrical sets, site - specific public installations and design work including fabric and tapestry.

High Modernism keeps appearing and reappearing and is continually taking on new meaning and escalating Modernism as an art form that is critical of itself.

Abstraction, as a language, remains linked to the high modernism left behind in its original form somewhere in the last century.

For me, the legacy of modernism that remains urgent is the form or process and content distinction, as well as the recognition of how easily the distinction breaks down, because form is always content at the next higher logical level.

JASON STOPA Your paintings are rooted in the formal language of high modernism, but they have titles such as Depression (2016) and Opioid Addiction (2016), which suggest something more quotidian than the lofty ideals espoused by Barnett Newman or Josef Albers.

Around this time, academic critics like Hal Foster championed Prince's work as part of a postmodern critique of commodity culture and as a definitive break with the fusty traditions of high modernism.