Sentences with phrase «high modernism with»

Rebecca Warren's (b. 1965, UK) striding high - heeled legs fuse high Modernism with the lowly comic book in an expression of pure eros.

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.»

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.

In the 1940s, however, she tried to work her way through high Modernism, and it meant playing around with European painting.

And it sets a precedent for the red square in Piet Mondrian's Composition with Yellow, Blue and Red (1937 - 42), which sits at the heart of this exhibition, upholding high modernism and geometric abstraction at their most sophisticated.

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[13] Jean - François Lyotard, in Frederic Jameson's analysis, does not hold that there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms.

Although the endgame is high Modernism, including Abstract Expressionists (de Kooning, Frankenthaler, Motherwell, Diebenkorn) and Pop (Lichtenstein), Elderfield first trots out a number of Old Masters, including Chardin, Eakins and Gerome, with a provocatively Pygmalionesque portrait of himself carving a plaster figure of Tanagra.

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.

[8] Jean - François Lyotard, in Fredric Jameson's analysis, does not hold there is a postmodern stage radically different from the period of high modernism; instead, postmodern discontent with this or that high modernist style is part of the experimentation of high modernism, giving birth to new modernisms.

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»

Dealing largely in the secondary market, Jonathan Boos specializes in American paintings, drawings, and sculpture of the 19th and 20th centuries with a particular focus on works of the highest quality from the Ashcan School, Modernism (including the Stieglitz Group), Realism, and the post-war period.

No feminist herself, Frankenthaler was often defined by her romantic relationship with formalism's ruthless arbiter, Clement Greenberg, and her later marriage to the painter Robert Motherwell, another polemicist of high modernism.

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 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.

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.

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»).

«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.

«This specifically Modern vision», Amnon Barzel asserts, «was born in the divided brushstrokes of the Expressionists; it cuts across 20th century Modernism through the high points of Cubism, the use of collages and Rauschenberg's «combines» and finally expresses itself in Schnabel's broken plates» (A. Barzel, «With Schnabel, About Schnabel», in Julian Schnabel, exh.

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

Bush was fully immersed in up - to - the - minute high modernism, being good friends with Noland, Olitski, Caro, etc..

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.