Sentences with phrase «ideas about art history»

All of these artists employ the undeniable beauty of their materials and abstract compositions to convey complex ideas about art history, social issues, and identity.

Not exact matches

What then is so troubling about the idea that fashion design might replace art history or literature in the curriculum?

She also tells her fellow Muses about her idea for an arts - appreciation / history session.

Catharina Manchanda, the museum's curator of modern and contemporary art, said she began thinking about the ideas of history and representation in art during the Obama administration.

Presenting perhaps lesser known works by such influential artists upends our usual assumptions and base of knowledge, allowing us to reevaluate our own ideas about this work and affords the challenge and the pleasure of grappling with ideas and the ever - changing web of art history.

Using ceramic practices as a cue, the group exhibition explores ideas about the division between fine art and craft initiated in the 19th century, and the position of decorative arts within 20th century art history calling into question the relationship between contemporary aesthetics and social life.

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

In Chris Ofili's work painterly and cultural elements — both sacred and profane, personal and political, from high art and popular culture — come together to play on ideas of beauty while carrying messages about black culture, history and exoticism.

Judd hosted dinner parties and social gatherings, and had a genuine curiosity for new ideas and debate about the intersection of art, culture, history, and politics at a time of great tumult and change in the United States and the world.

Art in Context: Hear ideas from contemporary thinkers about art, the business of art, the history of art, and the controversies and challenges of public aArt in Context: Hear ideas from contemporary thinkers about art, the business of art, the history of art, and the controversies and challenges of public aart, the business of art, the history of art, and the controversies and challenges of public aart, the history of art, and the controversies and challenges of public aart, and the controversies and challenges of public artart.

Ideas about authorship and authenticity and influences from literature, psychology, pop culture and art history are filtered, distorted and often discarded as they find three - dimensional form.

It materializes a question about the often unspoken links between curatorial ideas or aspirations and the discourse of art history, indirectly inquiring into a historicization of the present, with the exhibition as instrument.

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.

NSU Art Museum presents the first solo, U.S. museum exhibition of London - based, Malawian artist Samson Kambalu featuring 12 of the artist's recent films, A conceptual artist, ethnomusicologist and author, Kambalu humorously challenges canonical ideas about the history of ideas, art and religion while exploring issues of identity and freedom of expressiArt Museum presents the first solo, U.S. museum exhibition of London - based, Malawian artist Samson Kambalu featuring 12 of the artist's recent films, A conceptual artist, ethnomusicologist and author, Kambalu humorously challenges canonical ideas about the history of ideas, art and religion while exploring issues of identity and freedom of expressiart and religion while exploring issues of identity and freedom of expression.

The gallery says his work features «painterly and cultural elements — both sacred and profane, personal and political, from high art and popular culture — come together to play on ideas of beauty while carrying messages about black culture, history and exoticism.»

She has written for specialist and generalist publications (African Arts, NKA: Journal of Contemporary African Art, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienArt, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienart and the negotiation of identities to a wide audience.

Using found imagery and carefully constructed tableaux, his seductive yet challenging figurative paintings explore complex ideas about history, memory, political extremism and art history and are influenced by his experiences growing up in the last years of Ceausescu's dictatorship.

In a Hopps exhibition, considerations of art history and scholarship are often present, along with ideas about style and influence and social issues, but the primary emphasis is always on how the art looks on the wall, and this, surprisingly, makes Walter Hopps something of a maverick in his profession.

Lowery Stokes Sims — co-curator of a Colescott exhibition scheduled to open at the Contemporary Arts Center in Cincinnati next year — writes in the catalogue for the Seattle exhibit that Colescott uses «satire and parody of art - historical masterpieces with the idea of interjecting black people into art history and tricking us into a conversation about what constitutes the art - historical canon.»

Combining narrative films like «Body Double» and «A Short Film About Love» with experimental films, documentaries, and video art, the series demonstrates how the ideas of voyeurism, surveillance, and identity have been central throughout the history of cinema.

This hybrid art that is a mix of contemporary western style and Arabic ideas is, Kanoo insists, part of the global history of art, just the latest movement in a long tradition of East - meets - West visual culture, and he talks knowledgeably and enthusiastically about the mutual influence of Constantinople and Venice before the Renaissance, of Andalucian Spain, of Baghdad, destroyed by the Mongol invasion, the Golden Horde.

in his sculptures, installations, photographs and videos, he examines our knowledge and interpretation of the world with curiosity and wit, borrowing from numerous disciplines, such as art history, science and new age beliefs to test his ideas about the way things work and exist.

Charlotte Burns: You have always been very interested, too — when we talk about ideas — if the exhibition is a seed, then there's a cross-fertilization between art, science, history, politics.

About Blog The blog of the Journal of the History of Ideas, committed to diverse and wide - ranging intellectual history.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political tHistory of Ideas, committed to diverse and wide - ranging intellectual history.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thistory.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thistory expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thought.

But most non-Mexican Americans have «no idea» about the day's history, said Carlos Tortolero, president of the National Museum of Mexican Art in Chicago.