Not exact matches
Heeding the maxim of his mentor and friend AJP Taylor that «every historian should write an autobiography», Ken decided that his should not be «grist to the mill of possible obituaries or the
product of self - indulgence or vanity» but «an indication of how a
working, writing historian went about his task at a time of sweeping
historical change».
One generation of research lays the basis for the next, and the process proceeds in a cumulative, though not linear, fashion until the
product of
work of 100 or 50 or perhaps only 2 years ago has only
historical significance.
The end
product arises out of a sculptural tradition based on the creation of
works of art influenced by religion and literature, but simultaneously reduced to a secret level of identification — an art
historical lingua franca.
The network itself is composed of art
historical narratives, stylistic or thematic similarities, overlapping projects, shared educational backgrounds and
work experience, or common gallery representations — and as a
product of all of these functions, a network of friendships.
The artist's immersive film installations often include durational performance, experimental theatre, and variations of delegated creations of artistic objects and spaces which combine the
work of architects, musicians, scientists, and craftsmen as well as factory - made
products, all chosen for specific contextual and
historical significance.
The
product of months of careful planning by curator Cynthia Burlingham, exhibition designer Peter Gould, and colorist Scott Flax, along with a dedicated team of Hammer staff, the new installation situates this diverse selection of
works within galleries that seamlessly combine contemporary and
historical elements.
She continued to incorporate
historical material in subsequent
works, most famously using midcentury advertisements for African - American beauty
products from Ebony magazine and other publications of the period, abstracting portraits of models with yellow Plasticine, oil paint, pencil marks and incisions.
His
work is concerned with the popular digestion of culture, both the art
historical and those
products which touch everyday society.
The first solo show of Denny's
work in London,
Products for Organising, was developed in response to the Serpentine Sackler Gallery and featured new installations that revolved around contemporary radical management practices and the
historical hacker organisational forms that may have inspired them.
Silaphan is a mixed media artist, and in previous
work has used collage and illustration with marker pen and emulsion to adorn advertising signs from his native Thailand, selling
products like Coca - cola, Pepsi and Fanta, with high - profile artistic,
historical and political individuals such as Che Guevera, John Lennon and The Queen.
In contrast, Worley's
work seems to utilize the visual equivalent of name - dropping to prop up the thin merits of his final
product; the art
historical references acting as a declarative stamp to label an otherwise muddy experiment as art.
One of the key findings of this
work is that, contrary to the conventional expectation that the imposition of subsurface data constraints will draw the AMOC in reanalysis
products into agreement, the
historical AMOC variability is less consistent among the reanalysis
products than in corresponding simulations without subsurface data constraints.