Sentences with phrase «historical avant»

The works of the four painters integrates the use value of historical avant - garde into domestic scale paintings, yet they are far from nostalgic.

Unlike artists of the historical avant - garde or their more recent postmodern descendants, Strand did not draw from the world of mass culture in making his collages, or indeed from pre-existing material at all.

Mikkel Carl is inspired by art theoretical and culture critical movements such as the historical avant - garde, the «60s neo-avant-garde, postmodern appropriation art and the»90s relational aesthetics, all of which tried to challenge the classical art institution and the existing concept of art.

Smart's most recent work includes embroideries made at DGTMB Art Embroidery as assemblage elements in her project The Choreography of Cutting, which re-imagines and re-frames the historical avant - gardes performative practices centered on the body, and experimental visual art forms focused on choreography, costume and theatre design.

«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.

Collages became a medium of investigation for Wesselmann during his final year at Cooper Union, when he placed the historical avant - garde's technique at the core of his practice for several years.

In the action Pintura politica (Political painting)(2013), Vallecillo references and makes manifest the political aspirations of the historical avant - garde by inserting an abstract painting into a political protest.

His books include Scene jezika [Scenes of language](Belgrade, 1989), Pas Tout (Buffalo, 1994), Prolegomena za analitičku estetiku [Prolegomena for analytical aesthetics](Novi Sad, 1995), Postmoderna [Postmodernism](Belgrade, 1995), Asimetrični drugi [The asymmetrical other](Novi Sad, 1996), Estetika apstraktnog slikarstva [Aesthetics of abstract painting](Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950 [Glossary of modern and post-modern visual arts and theory after 1950](Belgrade and Novi Sad, 1999), Paragrami tela / figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etc..

David Rimanelli: «No longer do we live in a period in which we can confidently predicate the radicality of form as a necessary concomitant of radical content, the cri de coeur of both the forthrightly agitprop and ironically subversive historical avant - gardes.

«The Historical Avant - Garde» showcases work from the»60s and»70s by seven southeastern European artists, including Lupaș and Dimitrije Bašičević as well as one painting by LA artist Channa Horwitz.

ARCO International Contemporary Art Fair in Madrid, Spain, presents 250 galleries from over 30 countries which show historical avant - garde, contemporary and emerging art.

Hernández presents a new body of work reflecting upon collage as an art - technique and as a device from the historical avant - garde to represent and transform human relationship with reality.

The historical avant - gardes favoured the life of forms and the utopian concept of the «New Man» over biography and its historical incarnations.

Drawing from the histories of the Civil Rights and Black Resistance movements, Black aesthetic tradition, and the historical avant - garde, Becoming Imperceptible invites you to reimagine both our history and future and opens up a rigorous conversation about system and form in the European, African, and American avant - gardes of the last century.

For his first extensive presentation in Istanbul, Dirimart opens both galleries, in Dolapdere and Nişantaşı, to the films and photographs of Berlin - based artist Julian Rosefeldt, who has been celebrated worldwide for his film installation Manifesto (2015), a reenactment of historical avant - garde manifestos by artist groups such as the Dadaists, the Situationists, and Futurists, featuring Australian actress Cate Blanchett in thirteen different roles.

Using a vast array of fictional characters and iconographic motifs and codes, Rosen frequently refers to, and transforms, not only the canon of the historical avant - garde and transgressive traditions from the Marquis de Sade to Georges Bataille, but also popular media, political propaganda, and classic children's fairy tales.

He was a vociferous chronicler and theorist of contemporary and historical avant - gardes3 who maintained a staunch commitment to the value of the new in art.

Through its curatorial projects, the gallery continues to investigate the relationship between contemporary and historical avant - garde movements in Japanese performance, architecture and design.

She lived in Paris (1982 — 86), graduated from highschool in West - Berlin in 1988, studied Russian literature, Eastern European studies, political science, and art history in Berlin and Amsterdam (1988 — 96) and in 2004 obtained her PhD from the Humboldt University in Berlin, with a thesis focusing on a paradigmatic shift in the way artists reflected the historical avant - garde and the notion of utopia in visual and media art projects of the 1980s and 1990s in (ex --RRB- Yugoslavia and Russia.

Five of these were displayed in the 1948 Pavilion together with the other masterpieces of the historical avant - garde.

In 1967 he began his collaboration with Studio Marconi in Milan, focusing on creating works that were a new interpretation of historical avant - gardes, such as Abstractionism, Suprematism, Constructivism and Neoplasticism.

This seems as clear a statement of the notion of synesthesia, utilized by many of the historical avant - gardists, specifically Kandinsky, as one could render.

[32] Later, Peter Bürger would make a distinction between the historical avant - garde and modernism, and critics such as Krauss, Huyssen, and Douglas Crimp, following Bürger, identified the historical avant - garde as a precursor to postmodernism.

Based in Vienna, Verena Dengler is surrounded by reminders of the city's historical avant - gardes.

The Thessa Herold gallery represents photographers of worldwide repute, who belong to historical avant - gardes, as well as contemporary photographers who intend to mark their names in the history of photographic art.

ARCO International Contemporary Art Fair in Madrid, Spain, presents 250 galleries from over 30 countries which show historical avant - garde, contemporary...

Today many contemporary artists uphold the historical avant - garde's negative attitude toward the museum as an institution for maintaining the class enemy's order of things.

Marxist museology appeared to provide a possible solution to the dilemma the historical avant — garde posed to artistic institutions.

Decidedly not a minimalist, he continues to ponder objects and the space they occupy in quite modernist terms that land him somewhere between the historical avant - garde and the post war New York School.

The exhibition includes performance archives, photographs, and videos documenting Russian performance in both the historical avant - garde of the 1920s and contemporary periods.

It is, however, many other things: an exhibition of conceptual sprawl that skips around from the historical avant - garde to the internet and in between, skimming across animation, digitization, synesthesia, and interactions between the body and

Arns obtained her PhD from the Humboldt University in Berlin in 2004 with a thesis focused on paradigmatic shifts in the way artists in (ex --RRB- Yugoslavia and Russia refected upon the historical avant - garde and notions of utopia in visual and media art projects during the 1980s and 1990s.

Olowska's paintings, collages, and ceramics engage with traditional Polish crafts, feminism, the historical avant - garde whilst incorporating a modernist vocabulary.

Not exact matches

Black Dada references social and historical conditions through the formal methods of conceptualism, producing a point of convergence — the artwork, which sieves and questions matters pertaining to the freedom of abstraction in language and visual art, the animating force of blackness, and the strategies of experimental avant - gardes.

This exhibition, though not claiming to be a historical or academic in - depth study, aims to help trace the evolution of this vibrant exchange from Japan's post-World-War-II economic boom to the present, from mid-century avant - gardes to emerging contemporary artists pushing new boundaries.

Some Kabinett galleries have opted for the historical approach: Kukje Gallery / Tina Kim Gallery will present Dansaekhwa artist Kwon Young - Woo's avant - garde paintings; Japanese gallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as the 1960s.

At the same time, like the avant - garde, it's an idiom all its own, with it's own unique characteristics that are historical and transitory.

Interviews with Milan Grygar, Jirí Kovanda, Karel Malich, Zdenek Sykora and others map the historical events as well as the personal stories of the protagonists of the Czech «second avant - garde» and the «neo-modernism» of the former socialist bloc.

The display methodology and concept of the post — revolutionary museum drew closer to historical materialist practice, even echoing a number of avant — garde principles.

That show introduced American audiences to Cubism and other avant - garde forms of European art and, in the process, «exploded New York and the nation into the modern world,» as the Historical Society's President Louise Mirrer explained at a recent symposium.

It's a naive painting with historical references yet the versatility of the composition demonstrates modern avant - garde ideas.

In a groundbreaking approach to avant - garde Chinese art, the Smart Museum of Art's 1999 exhibition Transience established a historical framework for current artistic production in China.

Art historian Kerry Greaves has recently written of Helhesten, «they provide a crucial link between the historical and post-war avant - garde, and without [Helhesten] there would have been no Cobra.»

References to technology (Photoshop, plotter machines, flat - screen televisions) were placed alongside an art - historical vocabulary of readymades, Abstract Expressionism and the avant - garde.

The project focuses on artistic production between 1920s to 1960s in the USSR, ranging from Lenin's representation in works associated with the historical Russian avant - garde such as Kliment Redko's «Uprising» to such canonic Socialist Realist depictions as Aleksander Gerasimov's «V.I. Lenin on the Tribune» and Isaak Brodski's «Lenin in the Smolny.»

They will discuss artistic methodology and the use of the absurd as a political tool by these 20th century avant - garde groups and will look at art historical precedents for their work.

One might include «We Wanted a Revolution» in this, which considers a historical moment — black women working within movements of avant - garde art and second - wave feminism — between 1965 and 1985 but is mounted in 2017; evidence, perhaps, that nuance and ambiguity are less palatable in this political climate.

This exhibition, in conjunction with the Wen Pulin Archive of Chinese Avant - Garde Art, is Red Brick's first large - scale exhibition focused on art historical archives and documents.

A visionary painter with ties to the avant - garde artistic community in New York at midcentury, William Scharf nevertheless defies art historical categorization.

The exhibition is structured into thematic fields, each of which presents discoursive references to historical and current positions: Bauhaus and De Stijl, Hard Edge and New Color School USA, Constructive and Concrete Tendencies, European Zero avant - garde, Minimalism and design aspects, Neo Geo and contemporary positions.