Sentences with phrase «knew about art history»

As a matter of fact, they knew more than we Surrealists knew about art history... in our case there was not so much

They knew a great deal -LSB-...] even more than we Surrealists knew about art history.

It now regularly compliments its very special home for its very special permanent collection with exhibitions that expand what I know about art history.

Not exact matches

The hexagonal Art Deco «A-football-C» symbol has been synonymous with Arsenal Football Club since the 1930's and still appears today on scarves, badges and mugs in the Club shop; but what do we know about the history and design of this stylish Art Deco symbol?

It may try to force too much information into too little time if you don't know about the history and technology of film, but this documentary romanticizes the art with such passion and finesse that it stands as a reaffirmation of the power of movies and the importance of understanding their history and possible future.

What do you want students to know and understand about art, science, history, and literature?

Children can not be truly literate without knowing about the world — about history, science, art, music, literature, civics, geography, and more.

«Children can not be truly literate without knowing about history, science, art, music, literature, civics, geography, and more.»

You know that there is much to be learned — about history, about literature, about human emotion — from the theatre, and you know that the study and practice of dramatic arts can create more confident speakers and individuals.

1920s Delage duo — Dennis Harrison tells us about a 1928 D.M. Weymann saloon and a sporting 1926 DISS / Electro - plating of car parts — In a further article in our series on technical subjects John Teague explains nickel plating and chromium plating / Art and the automobile, Part one — Michael Worthington - Williams on the history of automobile art commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the UArt and the automobile, Part one — Michael Worthington - Williams on the history of automobile art commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the Uart commenting on some colourful early advertisements / Roydale: British - made Edwardian — The history of the little - known make is recounted for us by Malcolm Jeal / Austin 12/4 restoration — Mike Burgess describes how he rebuilt his 1928 Burnham saloon / 1933 Avon Standard Special — A report on this sporting open 4 - seater from Zoe Harrison / Alvis 12/50 sports saloon — David Hawtin recalls his recent encounter with a 1927 example / Castle Three cyclecar — The story of this Kidderminster - made «runabout» is related by A.B. Demaus / School of motoring — Malcolm Jeal has discovered that training courses were being offered by the Institute of Automobile Engineers in 1920 / MC raid on New England — How some early MGs invaded the USA.

You may study interesting facts from the life and the work of any artist or even several of them, get acquainted with magnificent masterpieces of art, get to know about the history of creation of different works of art.

«I could teach you for two weeks about the history of American comic art form, and you'd know more about all those things,» he said.

There are two tours for those who want to learn more about the station — the self - guided audio tour which focuses on the architectural highlights and history of the station, with interesting facts and little - known bits of information, plus the grand tour, which is a guided walking tour that teaches you about the station's state - of - the - art design and construction.

Surf instruction plan Surf instruction levels Why learn to surf in the Algarve I want to know more about history of surf and culture and art

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.

If you've ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay «Specific Objects» in 1965.

Pendleton and Rainer are paired by Performa Curator Adrienne Edwards as counterpoints to or varying entrees into the history, legacy, and influence of Dada in an effort to complicate and reimagine what we think we know about this art movement.

Presenters are Mark Dean Johnson, professor of art at San Francisco State University and director of the Martin Wong Foundation, who also moderates; Julia Bryan - Wilson, professor of modern and contemporary art and director of the Arts Research Center at UC Berkeley, whose Fray: Art and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personalart at San Francisco State University and director of the Martin Wong Foundation, who also moderates; Julia Bryan - Wilson, professor of modern and contemporary art and director of the Arts Research Center at UC Berkeley, whose Fray: Art and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personalart and director of the Arts Research Center at UC Berkeley, whose Fray: Art and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personalArt and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personalArt and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personalArt History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personally.

Many dealers know nothing about the history or processes of fine art.

Get to know more about Otis College of Art and Design, including our history, mission, and quick facts about our location and community.

Tate Modern's director Frances Morris commented: «Tania Bruguera is well known for the highly original and compelling way in which she addresses major political concerns of our time, not only within debates about art and art history, but also in the hope of effecting real change in the world around us.»

For a start, how about teaching art history in art lessons from the point of view of the artist, tell them Francis Bacon hung about with the Krays, or that Caravaggio murdered someone, let them know that the stuff about the vanishing point and composition are tools for conveying aspects of life, death, fear, sex - god forbid, humour - and those po faced dullards with posh voices that stand in front of great works pointing at background views of Tuscany are no more to do with painting pictures than I am an art historian.

I mean, he had been to school in Kansas City, and he knew a little bit then, but he was very naive about art...» See Susan Weil, Oral History Interview conducted by Karen Thomas, January 5, 2011; copy in the Robert Rauschenberg Foundation archives.

It is in the two - dimensional works that another of Ms. Merz's strengths emerges: She has no anxiety about showing her influences, and she is known for leaving many works undated, which indicates a striking indifference to the rankings and lineages of art history.

2010 Sontag, Deborah, Shonibare le Flamboyant, Courrier International, no. 1049, 9 - 15 December, p. 67 Yinka Shonibare Art about «Big Society,» The Guardian, 13 October David, Ariel, Linking the past and the present through art, The New York Times, 7 September Sheets, Hilarie, The New Jerusalem, ArtCritical, 17 August Turturro, Valeria, History Re-Awakened by Children, Re-View, 17 June Sewell, Brian, Oh Art about «Big Society,» The Guardian, 13 October David, Ariel, Linking the past and the present through art, The New York Times, 7 September Sheets, Hilarie, The New Jerusalem, ArtCritical, 17 August Turturro, Valeria, History Re-Awakened by Children, Re-View, 17 June Sewell, Brian, Oh art, The New York Times, 7 September Sheets, Hilarie, The New Jerusalem, ArtCritical, 17 August Turturro, Valeria, History Re-Awakened by Children, Re-View, 17 June Sewell, Brian, Oh No!

The reason it does not look like that, but is, on the contrary, utterly alive and relevant, is that Pollock had his eyes fixed on somewhere beyond «now»: he knew enough about the history of art before him to grasp the scale of newness and daring needed to make paintings that were truly revolutionary.

Of course pretending he didn't know anything about art history was one of the many ways in which Warhol camouflaged himself.

Everything You Need to Know About the Nahmads — Art writer Randy Kennedy has teamed up with two of the New York Times's veteran metro reporters to pen a sweeping portrait of the Nahmad clan, a famously quiet $ 3 billion art - powerhouse family — with a history of going after a third of the lots in evening auctions, only to put them in storage to resell later — that has entered an unwelcome spotlight ever since dealer Helly Nahmad's alleged gambling ring exploded in their facArt writer Randy Kennedy has teamed up with two of the New York Times's veteran metro reporters to pen a sweeping portrait of the Nahmad clan, a famously quiet $ 3 billion art - powerhouse family — with a history of going after a third of the lots in evening auctions, only to put them in storage to resell later — that has entered an unwelcome spotlight ever since dealer Helly Nahmad's alleged gambling ring exploded in their facart - powerhouse family — with a history of going after a third of the lots in evening auctions, only to put them in storage to resell later — that has entered an unwelcome spotlight ever since dealer Helly Nahmad's alleged gambling ring exploded in their faces.

An archive exhibition at the Whitechapel Gallery in London is about to bring to light the little known yet hugely influential history of Imprint 93 and so reveal another side to British art in the 1990s.

For the series, Art History 201, «Anna Stothart, Brown Foundation Curator of Modern and Contemporary Art, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.&raqArt History 201, «Anna Stothart, Brown Foundation Curator of Modern and Contemporary Art, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.History 201, «Anna Stothart, Brown Foundation Curator of Modern and Contemporary Art, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.&raqArt, engages in conversation with nationally - known artists about their work and its role in the greater context of the history of art.history of art.&raqart.»

I know one thing — MacGregor's liberal history of cultural encounters and global diversity, which he communicates through books and radio as well as British Museum's displays, has taught people a lot more about global art than anyone will learn from Campbell's film.

What's brilliant about Still's painting is also what's exceptional about the Anderson Collection overall: It is a visceral, aesthetic experience that sweeps you off your feet no matter your background in art or art history.

Last year, curator Robert Storr, then the dean of the Yale School of Art, went on a tirade about the state of art criticism on a Yale radio show, lambasting everyone from New York magazine's Jerry Saltz — a «class clown,» Storr said — to academics Hal Foster and Benjamin H. D. Buchloh, who «know very little about art history.&raqArt, went on a tirade about the state of art criticism on a Yale radio show, lambasting everyone from New York magazine's Jerry Saltz — a «class clown,» Storr said — to academics Hal Foster and Benjamin H. D. Buchloh, who «know very little about art history.&raqart criticism on a Yale radio show, lambasting everyone from New York magazine's Jerry Saltz — a «class clown,» Storr said — to academics Hal Foster and Benjamin H. D. Buchloh, who «know very little about art history.&raqart history.»

Initially collecting artworks by Latin American artists, Haudenschild fell in love with contemporary Chinese art at first sight, even though she did not know much about Chinese culture and history.

In fact, the art seems to have been chosen to prove a nationalistic thesis: China has an astonishingly rich cultural history, it has absorbed everything it needs to know about Western art, and its artists are employing the most cutting - edge technology to take art to the greatest heights mankind has ever seen.

And he was a person who had been around from the Clyfford Still days on, so he knew a lot about art history.

Frances Morris, the director of Tate Modern, said Bruguera was well known for «the highly original and compelling way in which she addresses major political concerns of our time, not only within debates about art and art history, but also in the hope of effecting real change in the world around us.

Royal Academy, London, 24 January — 10 April 2015 Rubens may be one of the great names in art history, but how much do we actually know about his work?

«And they argued very strongly that people needed to be able to understand the art, ordinary people, people on the bus needed to be able to know what on earth it was all about and they couldn't do that with Popova or Kandinsky not surprisingly,» opined John Milner, Curator and Professor of Russian art history at the Courtauld Institute of Aart, ordinary people, people on the bus needed to be able to know what on earth it was all about and they couldn't do that with Popova or Kandinsky not surprisingly,» opined John Milner, Curator and Professor of Russian art history at the Courtauld Institute of Aart history at the Courtauld Institute of ArtArt.

It was a question that had plagued me ever since my first encounter with Nicole Eisenman's paintings, prints, and sculptures.1 Eisenman's investment in art history, when combined with her penchant for absurdity and subversion, seemed to upend everything I knew about contemporary art.

Often I find that when I go to schools the painting students know more about this recent history than the art history professors and the theorists.

I remember the first couple years; I was just sort of devouring art history because I didn't know that much about it, which was really exciting.

Phong Bui: So far we know about your career as an art historian / critic, as you began in your memoir, Sweeper - Up after Artists, from the time you were a graduate student in American History at Columbia University in the early 1950s, which proceeded right after having gone to school in the same field of study at Temple University and the University of Pennsylvania.

Glass Wheel Studio (VA), Open Call for Artists: Juried Exhibition, «The Slide Show» Deadline: September 5th, 2016 If you took an art history course any time before the year 2005 you probably know a lot about 2 x 2 slides.

What reaction do you typically get from people who look at your paintings and know little or anything about art history and art?

Not about the kind of stuff that my students who are taking art history at the University, you know, they come back and they tell me how these classes are being taught and it all sounds so anti visual.

Designer Marcia Patmos of M.Patmos knows a thing or two about art history.