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...
Not exact matches
For example, referring to the «institutional field of cultural production» that «rapidly and radically transformed... the rigid dichotomy between «
high» and «low» «(for academics like Professor Rainey, dichotomies are always «rigid» and
high art always needs scare quotes), he tells us that «
Modernism's ambiguous achievement... was to probe the interstices dividing that variegated field and to forge within it a strange and unprecedented space for cultural production, one that did indeed entail a certain retreat from the domain of public culture, but one that also continued to overlap and intersect with the public realm in a variety of contradictory ways.»
Like the writers, painters, musicians, and philosophers of Romanticism and
Modernism that influence, challenge, and comfort him, my artist friend holds a very
high view of
art.
One sees an emphasis on European
art that may surprise visitors expecting a paean to American
high Modernism.
High modernism can overemphasize autonomy and
art's separation from the world.
Tagged With: Bauhaus, Bedside Gun Lamp, Biomorphic Design, blobitecture, CAD technology, Conceptual Design, Decorative Design, Ettore Sottsass, European Design Since 1985: Shaping the New Century, Expressive Design, form follows function but not always,
High Museum of
Art, High Tea Pot, Ikea, Indianapolis Museum of Art, Jurgen Bey, Kingston University, Maarten Baas, Marc Newson, memento mori, Memphis group, modernism, modernists, Neo-Dada, Neo-Decorative, Neo-Pop, Philippe Starck, R. Craig Miller, Smoke Armchair, Surrealism, Target, Tejo Remy, terminus a quo, the Denver Art Museum, The Substance of Style, Virginia Postrel, whimsical art, Whimsy, Wieki Som
Art,
High Tea Pot, Ikea, Indianapolis Museum of
Art, Jurgen Bey, Kingston University, Maarten Baas, Marc Newson, memento mori, Memphis group, modernism, modernists, Neo-Dada, Neo-Decorative, Neo-Pop, Philippe Starck, R. Craig Miller, Smoke Armchair, Surrealism, Target, Tejo Remy, terminus a quo, the Denver Art Museum, The Substance of Style, Virginia Postrel, whimsical art, Whimsy, Wieki Som
Art, Jurgen Bey, Kingston University, Maarten Baas, Marc Newson, memento mori, Memphis group,
modernism, modernists, Neo-Dada, Neo-Decorative, Neo-Pop, Philippe Starck, R. Craig Miller, Smoke Armchair, Surrealism, Target, Tejo Remy, terminus a quo, the Denver
Art Museum, The Substance of Style, Virginia Postrel, whimsical art, Whimsy, Wieki Som
Art Museum, The Substance of Style, Virginia Postrel, whimsical
art, Whimsy, Wieki Som
art, Whimsy, Wieki Somers
Meanwhile, in the
high temple of
modernism ---- New York's Museum of Modern
Art ---- curator and past New American Paintings juror Laura Hoptman has just opened The Forever Now: Contemporary Painting in an Atemporal World.
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.
Shedding light on a rarely examined topic in the history of
modernism, the major exhibition «Cross Country: The Power of Place in American
Art, 1915 - 1950» (Feb. 12 through May 7, 2017) at the High Museum of Art will uncover how experiences of rural life fundamentally changed the direction of American a
Art, 1915 - 1950» (Feb. 12 through May 7, 2017) at the
High Museum of
Art will uncover how experiences of rural life fundamentally changed the direction of American a
Art will uncover how experiences of rural life fundamentally changed the direction of American
artart.
Appropriately enough, Lawrence's mix of
high and low has its roots in a tamer, all - too - earnest
Modernism, a uniquely American
art.
When Gates was making them, he was reflecting not only on his father's tar kettle but also on the abstract painting of Jasper Johns and others,
art considered the
high - water mark of American
modernism.
Meanwhile, in the
high temple of
modernism — New York's Museum of Modern
Art — curator and past New American Paintings juror Laura Hoptman has just opened The Forever Now: Contemporary Painting in an Atemporal World.
Cézanne and the Modern: Masterpieces of European
Art from the Pearlman Collection at the
High Museum afforded Atlanta audiences rare glimpses into the formative years of European
modernism.
[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.
One compact definition offered is that while post-
modernism acts in rejection of
modernism's grand narratives of artistic direction, and to eradicate the boundaries between
high and low forms of
art, to disrupt genre and its conventions with collision, collage and fragmentation.
1989 Black
Art — Ancestral Legacy: The African Impulse in African — American
Art, Dallas Museum of
Art, TX;
High Museum of
Art, Atlanta, GA; Milwaukee
Art Museum, Milwaukee, WI; Virginia Museum of Fine
Arts, Richmond, VA The Blues Aesthetic: Black Culture and
Modernism, Washington Project for the
Arts, Washington, DC; California African American Museum, Los Angeles, CA; Duke University Museum of
Art, Durham, NC; Blaffer Gallery, University of Houston, Houston, TX; The Studio Museum in Harlem, New York, NY Forerunners and Newcomers: Houston's Leading African American Artists,
Art Gallery, University of Houston, Clearlake, TX Messages from the South, Sewall
Art Gallery, Rice University, Houston, TX The Private Eye: Selected Works from Collections of the Friends of the Museum of Fine
Arts Houston, Museum of Fine
Arts, Houston, Houston, TX
The Boston Globe: Celebrating
High Modernism while Exposing its Flaws The
Arts Fuse: The Way We Live Now — Blending Modernist Architecture and Contemporary
Art, An Interview with James Voorhies Harvard Crimson: Carpenter Center's Exhibition Recalls «The Way We Live Now»
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.
Art Spiegelman on storytelling,
modernism, wormholes, loopholes, and the boundaries that still separate
high and low.
Taken together, these many approaches to
art represented a wholesale rejection of the tenets of
modernism — e.g., its optical formalism,
high seriousness, utopianism, social detachment, invocation of the subconscious, and elitism — and marked the beginning of a new era in
art.
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).
Donald is fascinated by the way in which this system of values in the world of decoy making and collecting (still vital today, in spite of the anachronism of duck hunting) echoes so directly that of the
art world — while the
art world (in spite of claims that we are beyond
modernism with its distinctions between
high and low culture) would have nothing of such objects.
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 developm
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 developm
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 developm
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 developm
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 developm
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 developm
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.
«One way of understanding the relation of the terms «modern,» «modernity,» and «
modernism» is that aesthetic
modernism is a form of
art characteristic of
high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist
art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.
Adam Pendleton has been included in significant exhibitions in America and Europe including the Palais de Tokyo's La Triennale (2012), where his video installation BAND was presented following its premiere at The Kitchen, New York (2010); Ecstatic Alphabets / Heaps of Language, MoMA, New York (2012); Greater New York, MoMA PS1, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro -
Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy,
High Museum of
Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil:
Art and Rock and Roll Since 1967, Museum of Contemporary
Art, Chicago (2007); Performa 07, New York (2007); Talk Show, ICA, London (2007); Resistance Is, The Whitney Museum of American
Art, New York (2007); Frequency, Studio Museum of Harlem (2005 - 06); and Double Consciousness: Black Conceptual
Art Since the 1970s, Contemporary
Arts Museum, Houston (2005).
Other important exhibitions include Adventure of the Black Square: Abstract
Art and Society 1915 — 2015 (2015), Whitechapel Gallery, London; The Disappearance of the Fireflies, Collection Lambert, Avignon, France, 2014; Love Story - Anne and Wolfgang Titze Collection, 21er Haus and Winter Palace, Vienna, Austria, 2014; Radical Presence: Black Performance in Contemporary
Art, Walker
Art Center, Minneapolis, 2014; Joan Jonas & Adam Pendleton, Galeria Pedro Cera, Lisbon, 2014; We Love Video This Summer, Pace Gallery, Beijing, China, 2014; Radical Presence: Black Performance in Contemporary
Art, Contemporary
Arts Museum, Houston (2013); Ecstatic Alphabets / Heaps of Language, The Museum of Modern
Art, New York (2012); Greater New York, P.S. 1 Contemporary
Art Center, Long Island City, New York (2010); The Generational: Younger Than Jesus, New Museum, New York (2010); Afro -
Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy,
High Museum of
Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil:
Art and Rock and Roll Since 1967, Museum of Contemporary
Art, Chicago (2007); Performa 07, New York (2007); Talk Show, Institute of Contemporary
Art, London (2007); Resistance Is, Whitney Museum of American
Art, New York (2007); Frequency, Studio Museum of Harlem, New York (2005 - 06); and Double Consciousness: Black Conceptual
Art Since the 1970s, Contemporary
Arts Museum, Houston (2005).
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.
Clement Greenberg, at the height of his influence, argued that only abstraction could preserve the integrity of
high art for
modernism.
Although Liberman studied
art during a time of major developments in
high modernism, his conservative
art education focused primarily on earlier periods of
art.
In comparison, the exhibition catalogue (MIT Press, 2004) focuses more on the theoretical than on the political implications of this transitional period between
high modernism and postmodernism, when the United States overthrew the shackles of European dominance and became a world - class
art power.
A resolute
high Modernist, he was out of sympathy with many of the aesthetic waves that came after the great achievements of the New York School, notably Pop («a very great disaster»), Conceptual
art («scrapbook
art») and postmodernism («
modernism with a sneer, a giggle,
modernism without any animating faith in the nobility and pertinence of its cultural mandate»).
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.
Pendleton has been included in significant exhibitions in America and Europe, including Love Story — The Anne & Wolfgang Titze Collection, Winter Palace and 21er Haus, Belvedere, Vienna (2014); La Triennale, Palais de Tokyo, Paris (2012); Ecstatic Alphabets / Heaps of Language, MoMA, New York (2012); Greater New York 2010, MoMA PS1, New York (2010); The Generational: Younger than Jesus, New Museum, New York (2010); Afro -
Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino - South Tyrol, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy,
High Museum of
Art, Atlanta (2008); Object, The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil:
Art and Rock and Roll Since 1967, Museum of Contemporary
Art, Chicago (2007); Performa 07, New York (2007); Talk Show, ICA, London (2007); Resistance Is, Whitney Museum of American
Art, New York (2007); Frequency, The Studio Museum of Harlem (2005 — 06); and Double Consciousness: Black Conceptual
Art Since the 1970s, Contemporary
Arts Museum, Houston (2005).
After its debut in Chicago, John Marin's Watercolors: A Medium for
Modernism will travel to the
High Museum of
Art, Atlanta, where it will be on view from June 26 through September 11, 2011.
«Abstraction in the visual
arts has often been misunderstood through the lens of the historical avant - garde and
high modernism, whose utopian ideals of universality and humanism were intertwined with the totalizing ambitions of the social and political projects of Western modernity,» said curator Acevedo - Yates.
Though
art school has certainly evolved from there (with a relationship to painting in general that is worthy of debate in its own right) much of its structure and divisions are based on ideas put forth by individuals religiously committed to the
highest ideals of utopian
modernism.
The Drug of Abstraction: An Interview with Beverly Fishman
Art in America, by Jason Stopa February 2017 The Drug Administration: Beverly Fishman talks
High Modernism and Big Pharma Artcritical, by Leslie Wayne March 2017
The
High Museum of
Art will host «John Marin's Watercolors: A Medium for
Modernism,» the first major comprehensive exhibition addressing John Marin's (1870 — 1953) modernist achievements in the watercolor medium.