It now regularly compliments its very special home for its very special permanent collection with exhibitions that expand what
I know about art history.
They knew a great deal -LSB-...] even more than we Surrealists
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
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 U
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 U
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 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 personal
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 personal
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 personal
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 personal
Art and
Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personal
Art 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 fac
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 fac
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 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.&raq
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.
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.&raq
Art, 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.&raq
art.»
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.&raq
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.&raq
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.&raq
art 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 A
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 A
art 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.