Sentences with phrase «into modern art history»

In his third solo exhibition «Into the BLACK», Joburg based Burundian artist Serge Alain Nitegeka delves into modern art history's fascination with the colour black.

This exhibition features the far and wide, repeated, mundane, everyday images from popular culture that are now tightly woven into our Modern Art History.

Not exact matches

A spectacular blend of Golden Era glamour and modern luxury, Fontainebleau Miami Beach merges striking design, contemporary art, music, fashion and history into a vibrant guest experience.

Culinary Cinema returns with a spread of film delicacies including Bugs, in which Nordic Food Lab chef Ben Reade takes an entertaining journey through one of the last culinary taboos in the west; Sour Grapes, featuring a good humoured take on one of the most impressive wine frauds in modern history; and Barista (above), providing an enlightening and intense glimpse into the art of producing a flawless cup of coffee.

«Before ArtThink, I never knew how to incorporate modern art into my history classes, and now I do,» she says.

The Audrey Flack exhibition at Hollis Taggart's downtown space, whimsically subtitled «Master Drawings from Crivelli to Pollock,» takes visitors along a broad sweep of art history, from which mythical and historical persona are gathered into reconfigurations spanning high and low, reverent and irreverent, ancient and modern.

Art & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual aArt & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual artart.

It also highlights the Modern's claim to extend its official history of modern art into the prModern's claim to extend its official history of modern art into the prmodern art into the present.

The youngest artist to ever receive a retrospective at the Museum of Modern Art — in 1970, at age 34 — Frank Stella carved his name into American art history with his innovative shaped canvasArt — in 1970, at age 34 — Frank Stella carved his name into American art history with his innovative shaped canvasart history with his innovative shaped canvases.

If you go into the vaults of the Museum of Modern Art and really take stock of what is there, I defy you to write a streamlined history of moderModern Art and really take stock of what is there, I defy you to write a streamlined history of modern aArt and really take stock of what is there, I defy you to write a streamlined history of modernmodern artart.

Engaging with the history and mission of The Arts Club itself, the two - part installation will bring together McElheny's film The Light Club of Vizcaya: A Women's Picture (2012) and a new site - specific installation titled The Club for Modern Fashions (2013), a constructed glass pavilion into which performers and guests are invited during the lunch hour, Tuesdays through Fridays, dressed in vintage attire from the 1920s to the 1970s — decades that signify the height of a modernist imperative across the cultures of fashion, design, and architecture.

Today, the museum continues this rich history with new acquisitions, special exhibitions and permanent collection installations that offer dynamic new approaches to presentation and interpretation by placing these artists into conversation with some of the most iconic and established voices in modern and contemporary art.

Eight years of preparation went into crafting «WACK,» the first comprehensive effort to correct modern art history's shameful gender bias, focusing on work that emerged from the feminist art movement of 1965 through the 1980s and organized by theme.

His photographs and sculptures draw on the history of modern art as they turn the everyday into the abstract and back again.

Just beause «Everything you can think of is true», as he claims, the artworks in the exhibition entitled «Video Portraits of Lady Gaga», although they seem to balance in the dreamland, containing elements from the art history, with the help of technology transfigure into modern fairy tales and they are: Extremely Truly...

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Symposium subjects included, among other things, discussions of Alfred Stieglitz as a major proponent and supporter of early American Modernism, the ways in which art critic Clement Greenburg's definition of Modernism shaped thinking about this issue for generations yet was exclusive to issues of race, gender and politics, the role of photography figured prominently into the dissemination of the term «modern,» and the many ways photography has played a major role in shaping the history of Modernism in America.

Yet Nickson turns these loaded, time - honored motifs into compelling, wholly contemporary images that toggle between unabashed romanticism and a modern celebration of the expressive power of super-saturated color relationships and abstract structure, with a healthy admixture of awareness of the history of western art.»

Inspired by 20th century European masters, Miles distills his respect for modern art history into his own spare contemporary language embodying meditation and tranquility.

The»60s also cemented New York as the epicenter of the West's (white, male - dominated) avant - garde, even though that road had been paved in the 1950s by Abstract Expressionists like Jackson Pollock, Mark Rothko and Willem de Kooning, and others who enchanted critic Clement Greenberg, such as Barnett Newman, Kenneth Noland, and Helen Frankenthaler — artists who the esteemed critic thought of as carrying the torch of art history into the modern era.

Nearly every phase of modern art was initially greeted by the public with ridicule, but as the shock wore off, the various movements settled into history, influencing and inspiring new generations of artists.

Exhibition Closes: July 31, 2016 The «Mettlach: Medieval to Modern» exhibition presents a journey into the history of European art and...

She takes a deep dive into San Francisco's relationship to modern art history that would merit more attention, if there were not so much else to see in the building.

Nesbit has also led talks at the University of Pennsylvania's Slought Foundation with filmmaker Agnes Varda, [9] at the Tate Modern with Tamar Garb, Professor of Art History at University College London in 2002, [10] at Oslo Pilot with artist Lex Brown (artist) on the difficulties of introducing art into the public realm, [11] and at HangarBicocca in 2003 with artist Tomás SaraceArt History at University College London in 2002, [10] at Oslo Pilot with artist Lex Brown (artist) on the difficulties of introducing art into the public realm, [11] and at HangarBicocca in 2003 with artist Tomás Saraceart into the public realm, [11] and at HangarBicocca in 2003 with artist Tomás Saraceno.

Viewing the collection and its collector in tandem for the first time, the exhibition provides unique insight into the period when the history of modern art in America was being made.

More of a coffee table book than a beach - read, Honar: The Afkhami Collection of Modern and Contemporary Iranian Art is an invaluable look into a rich and textured history of art that's unfortunately overlooked in Western museuArt is an invaluable look into a rich and textured history of art that's unfortunately overlooked in Western museuart that's unfortunately overlooked in Western museums.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Standing Water is a project that organically fits into Galerie Rudolfinum's idea of one major and continuously developed programming line: deep and inspiring relationships between modern art and the past, the history of art.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.

Modern art history is full of women trying to buck the male gaze and the inherent inequality that comes with it — from the Guerilla Girls (who once asked «do women have to be naked to get into the Met Museum?»)

Yves Klein's 1958 emblematic exhibition «The Specialization of Sensibility in Raw Material State into Stabilized Pictorial Sensibility», which was subsequently referred to as The Void, is widely considered as a turning point in modern art history.

Besides art classes: Art History, by Arşo Kasparyan (2012 - 2015) Contemporary and Modern Art History Seminar, Istanbul Modern Museum (2015) Artwork Analysis, MIM85 Art, by Yalçın Sadak (2016) Philosophy, MIM85 Art, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqart classes: Art History, by Arşo Kasparyan (2012 - 2015) Contemporary and Modern Art History Seminar, Istanbul Modern Museum (2015) Artwork Analysis, MIM85 Art, by Yalçın Sadak (2016) Philosophy, MIM85 Art, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt History, by Arşo Kasparyan (2012 - 2015) Contemporary and Modern Art History Seminar, Istanbul Modern Museum (2015) Artwork Analysis, MIM85 Art, by Yalçın Sadak (2016) Philosophy, MIM85 Art, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt History Seminar, Istanbul Modern Museum (2015) Artwork Analysis, MIM85 Art, by Yalçın Sadak (2016) Philosophy, MIM85 Art, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt, by Yalçın Sadak (2016) Philosophy, MIM85 Art, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt, by Yalçın Sadak (2016) Modern Art History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt History — MIM85 Art, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.&raqArt, by Yalçın Sadak (2016 - 2017) «If paint is a tool for adding reality to our impressions of external world, an ordinary material can turn into an instrument of artistic expression.»

Afnan's work, which both reflects and transcends her personal history, is represented in the Institute du Monde Arabe in Paris and the British Museum in London where in 2006 she was included in the exhibition Word into Art: Artists of the Modern Middle East.

We help business leaders develop an Executive Resume, reinterpret the long career history, convert it into a state - of - the - art, modern and sleeker marketing tool.

The history of modern design, architecture and art blend into colorful and bold rooms created with bright colors and simple geometric shapes.