Sentences with phrase «idea of art movements»

He disdained the term Minimalist, along with the whole idea of art movements.

Not exact matches

Each lesson focuses on one letter of the alphabet and includes creative activities, early math concepts, art and science exploration, as well as music and movement ideas.

Their timeless art samples past styles and movements, producing radical new interpretations that reshape the ideas of traditional painting.

will feature artists including Melvin Edwards, Fred Eversley, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Alonzo Davis, Dale Brockman Davis, Noah Purifoy, Betye Saar, and Charles White, connecting their work to larger movements, trends, and ideas that fueled the arts during this important era of creative, cultural, and political ferment.

By 1911 Cubism attracted a long list of adherents and became the important international measuring stick against which all the modern art movements and important avant garde ideas were weighed.

This movement depended on the synthesis of the emotional, the revelatory, the intuitive, the sensual, the idea as inspiration and succeeded when tapping the root from which all great art emanates.

The ideas about art outlined by Clement Greenberg and Harold Rosenberg are still debated today, and the extent to which they were debated in the past has shaped entire movements of the arts.

Although Wayne is considered to be a key piece of the Pop art, Thiebaud never truly accepted the concepts of this movement, instead sticking to the original combination of his own and Pop's ideas, refusing to evolve alongside other representatives of the movement.

The ideas within Estes» paintings in Dispatches from the Front Lines come out of the feminist art movement of the early seventies and the subsequent flowering of the pluralism and inclusiveness of that time.

A.R. Penck was a German artist who developed his unique pictorial and sculptural techniques on the core ideas of primitive art and Brut Art movemenart and Brut Art movemenArt movements.

A big group show about interplay, one that puts motion back in the idea of an art «movement,» seems just the time to give it a try.

GPS / Global Practice Sharing provides a platform for the international exchange of ideas, processes and reflective practices surrounding dance and movement based forms between the U.S. and independent performing arts communities internationally.

The exhibition also considers ideas that contributed to the development and rejection of later art movements such as cubism, surrealism, pop art, minimalism.

In one interesting movement toward complete democratisation, the 1981 committee «in order to encourage a larger entry of works» asked for all submissions to be made in the form of slides and then created a slideshow that could be arranged at will «to give a more complete idea of what is going on in art colleges at the moment.»

The exhibition features artists from Van Dyck, Whistler and Mondrian to Steve McQueen and Francis Alÿs, Migrations traces not only the movement of artists, but the circulation of art and ideas.

With its idea that humble «poor» everyday materials — both natural and man - made — can be transformed into powerful, evocative works of art, Arte Povera transformed the landscape and language of contemporary art in the late 1960s and 70s and has become one of the most influential art movements of the past half century, exerting a profound impact on art around the world, including conceptual art, minimalism and the YBAs.

These ideas of form at the center of artistic creation had different manifestations in different art movements.

By the early 1960s Minimalism emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting.

Created on - site at the Addison's artist - in - residence studio, Liang's installation combines the Blanc de Chine (or Chinese White) porcelain native to Dehua, and jianzhi, the traditional Chinese art of cut paper, in works that examine the movement, appropriation, and transformation of cultural ideas, objects, and peoples.

In the early 1960s, together with dancers including Steve Paxton and Yvonne Rainer, she revolutionized the idea of dance and performance art by introducing movements from everyday life.

expands the art historical record, placing the work of these practitioners within the context of the movements, trends, and ideas that fueled the arts in Los Angeles during this period.

Among the themes explored are the establishment of new definitions of painting; the introduction of movement and light as both formal and idea - based aspects of art; the use of space as subject and material; the interrogation of the relationship between nature, technology and humankind; and the production of live actions or demonstrations.

When it comes to large - scale artistic interventions into the natural world, the movement that usually leaps to mind is Land Art — huge, muscular sculptures carved or pulled from the earth by heavy machinery at the command of men like Robert Smithson and Walter De Maria, self - styled «gruff individualists» who claimed the studio and gallery were simply too small to contain their big ideas.

While not a cohesive movement, the idea of «Pop Art» (a name coined by Lawrence Alloway) was gradually spreading among international critics and the public.

Every movement had its famous painters, ones that still stand strong and undefeated as the ultimate creators of new ideas and that inspire generation after generation of talented individuals who embraced their legacy and continued their contribution to the evolution of contemporary art today.

Since then, art and ideas have evolved, other movements have fallen in and out of fashion and new philosophies have come to the fore.

The movement coalesced during the second half of the nineteenth century as writers in France and Belgium sought a new form of art — one that referenced the visible world as symbols that correlate to ideas and states of mind.

The idea that black artists were part of a «movement» is misleading, and the Tate exhibition posits the era as a political intersection with an art history perspective rather than as a group of artists working for a common cause.

When it comes to the dominant art movement of this period, the ideas of Abstract Expressionism were dominating the contemporary art scene.

His work is concerned with the idea of «re-imagining the experience of movement», making a conscious effort to actively participate in the world through art.

Just as Paglen works with hobbyist astronomers, curator Tyler Stallings, whose show «Free Enterprise: The Art of Citizen Space Exploration» will be seen next year at the Sweeney Art Gallery at the University of California, Riverside, comments that the «idea of citizen scientists, a burgeoning movement, shows a shift from scientists informing the public about what's good for them to research often done by amateurs.»

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Rooted in the Metaphysical Painting of Giorgio de Chirico (1888 - 1978), the revolutionary painterly ideas of Cubism, the subversive art of Dada and the psychoanalysis ideas of Sigmund Freud and Carl Jung, Surrealism was the most influential avant - garde art movement of the inter-war years.

So many modern artists derive their ideas from this movement and probably don't even realize it - from David Ellis» kinetic sculptures, to most interactive performance art I've seen out there, Fluxus thought of it first, and 50 years ago.

By the early 1960s Minimalism had emerged as an abstract movement in art (with roots in geometric abstraction via Malevich, the Bauhaus and Mondrian) which rejected the idea of relational, and subjective painting, the complexity of Abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of Action painting.

The Pop Art movement adopted commercial methods like silk screening and the reproduction of existing works, downplaying the artist's hand and subverting the idea of originality.

Whether it's Andy Warhol, Roy Lichtenstein, or Robert Rauschenberg, no other conceptual movement in modern twentieth - century art history has been such a crucial influence on our ideas of aesthetics, design, and the American way of life as Pop Aart history has been such a crucial influence on our ideas of aesthetics, design, and the American way of life as Pop ArtArt.

The title speculated that material objects might not necessarily constitute the ultimate reality of art; one can simplify the issue and say that the movement was originally about the art of ideas, but this too has become over-generalized.

This post — Civil Rights movement — if it can be called a movement, as loose and divisive as the idea of post-black art is today — has made new room for Civil Rights — era artists who did not fit during their day, Gilliam and Young among them.

And the movements, styles or sets of ideas they represent range from Pop art and minimalism through land and performance art to the neo-everythings that marked the»80s and»90s.

Her references to art history include Romantic painterly gestures, obvious nods to the California Light and Space movement and the idea of the ready - made.

Note: In addition to Judy Chicago, other modern artists who became pioneers of Feminist ideas included: Miriam Schapiro (1923 - 2015) a leading figure in the Pattern and Decoration art movement; video - artist Doris Totten Chase (1923 - 2008); painter / printmaker Nancy Spero (1926 - 2009); «maintenance artist» Mierle Laderman Ukeles (b. 1939); and the performance artist Carolee Schneemann (b. 1939).

Then, during the period 1916 - 25, the Dada movement attacked the very idea of traditional art.

This movement initiated the idea that art can be created from all sorts of stuff, including the most banal everyday scraps of material.

Third, again like Dadaists, he believed that the idea behind a work of art was more important than the work itself - a belief he held in common with the growing Conceptual art movement.

The intellectual emphasis of Duchamp - style «readymades» also had an impact on postmodernist art of the late 1960s, 70s and 80s, notably the Arte Povera movement in Italy and Nouveau Realism in France, as well as conceptual art - a new artform based on the belief that the artist's idea was more important than the final artwork.

All four artists came across Duchamp in the founding years of their careers and all embraced his practice to form the beginnings of the pop art movement and the still highly relevant theoretical ideas of bringing art into life.

Tomma Abts» small paintings look as though they belong to some forgotten, between - the - wars European abstract movement, yet she has said that what excites her is the idea of work so unplaceable that it might point to the «art of the future».

At the time, I had no idea that many considered Prini an icon of hyper - conceptual art and a leading figure of the Arte Povera movement.

But art is about so much more than creating work that is confined to the ideas held by set movements, and every now and then, artists like Stella prove to be the personification of what it means to create inspiring art that isn't all about following any rules.