Sentences with phrase «late twentieth century art»

Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art.

The Rivendell Collection of Late Twentieth Century Art is on permanent loan to the Center for Curatorial Studies.

Many of the pieces included in this exhibition are considered pivotal works of late twentieth century art.

Not exact matches

Informed by both his time working in Brancusi's Paris studio in the late 1920s and travels between the United States and Japan, Noguchi pursued a holistic approach to his sculpture, design, and public works that spanned a range of influences and impacted the development of twentieth - century art.

The first major exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiArt, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiart and painting.

As notions of what constitutes «Art» have changed over the centuries, so too, has the late twentieth - century view of «Design», with the advent of critical design; celebrated designers from Ron Arad and Daniel Weil to partnership Dunne & Raby, and Konstantin Grcic challenge the concept of function, use, form, and value.

Painterly gesture, it turns out, can get along just fine with the rigor of late Modernism, the conceptual art of the late twentieth century, or the open - ended excess of today.

Adjusted Margin: Xerography, Art and Activism in the Late Twentieth Century, by Kate Eichhorn The Kindred of the Kibbo Kift: Intellectual Barbarians, by Annebella Pollen Industry and Intelligence, by Liam Gillick Drinks, by Dike Blair

Carolyn Christov - Bakargiev is a writer and curator living in Rome, who has become an internationally recognized scholar of late twentieth - century Italian art.

The recently published anthology Contemporary Art: 1989 to the Present (edited by Alexander Dumbadze and Suzanne Hudson, Wiley - Blackwell, 2013) brings together newly commissioned essays by fifty leading voices in contemporary art to thematically and polemically assess art and its contexts of the late twentieth and twenty - first centuriArt: 1989 to the Present (edited by Alexander Dumbadze and Suzanne Hudson, Wiley - Blackwell, 2013) brings together newly commissioned essays by fifty leading voices in contemporary art to thematically and polemically assess art and its contexts of the late twentieth and twenty - first centuriart to thematically and polemically assess art and its contexts of the late twentieth and twenty - first centuriart and its contexts of the late twentieth and twenty - first centuries.

Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, Milton Avery) give twentieth - century abstraction its place in the collection, as do later examples of Surrealism (Kay Sage, George Tooker), Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo - Realism (Robert Cottingham).

Translating her political beliefs into abstract forms, Baron created «an art of concealment and protection,» one that remains as poignant and necessary today as it was in the late twentieth century.

Her second monograph, currently titled Anti-Craft, examines relations between art and craft in the late twentieth century.

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, «In the Studio: Paintings,» exhibited at 522 West 21st Street, spanned from the mid-sixteenth through the late twentieth centuries and included over 50 paintings and works on paper by nearly 40 artists.

Her research examines the collision between American art and science at the locus of the human body, particularly during the late - nineteenth and early - twentieth centuries.

In her wall text, Zabel writes, «By exploding traditional modes of easel painting, Pop artists of the 1960s radically expanded the possibilities of how art is made and how it is viewed; thus they opened up multiple pathways for artists coming to maturity in later decades of the twentieth century.»

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, «In the Studio: Paintings,» on view at 522 West 21st Street, spans from the mid-sixteenth through the late twentieth centuries and includes over 50 paintings and works on paper by nearly 40 artists.

Joe Brainard: A Retrospective reveals the creative genius of this important late - twentieth century American artist, and is curated by Constance Lewallen, Senior Curator at The University of California, Berkeley Art Museum and Pacific Film Archive, where it debuted.

Within this preoccupation with the copy, the metaphor of death is never far away, at least in reference to the late twentieth - century theory of the «death of the author,» which in more recent times has become nuanced by the notion that the ready - made and the copy are «original» art works after all.

He was the first curator of twentieth - century art at the Boston Museum of Fine Arts [3] and later the director of the Museum of Art Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters&raquart at the Boston Museum of Fine Arts [3] and later the director of the Museum of Art Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters&raquArt Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters».

Gordon Matta - Clark (1943 - 1978) is one of the great heroes of late twentieth - century art, a cult figure as much in the contemporary art world as on the architecture scene, whose work is independent from any movement or school.

Highlights of the European art collection include English genre painting of the nineteenth - century as well as examples of French post-Impressionistic painting from the late nineteenth and early twentieth century.

Documents contextualises the Works with original artists» statements and interviews, often reproduced in book form for the first time, plus writings on art and photography by leading critics, writers and theorists of the late twentieth century.

Publications: Author: Abstract Art (college textbook); Contemporary Art (college textbook); An Introduction to Colorlogy (college textbook); Pluralism in Late Twentieth - Century Paris (professional paper); Narrative Illustration: Lucian Freud's Neo-Realism at the End of the Twentieth Century (professional paper).

Born in Chicago, Golub (1922 — 2004) occupies a singular position in the history of mid to late twentieth - century art.

In 2010, the San Francisco Museum of Modern Art canonized these high - octane, formerly underground artists in a wall text which stated that the Mission school was «the most significant art movement to emerge out of San Francisco in the late twentieth century.&raqArt canonized these high - octane, formerly underground artists in a wall text which stated that the Mission school was «the most significant art movement to emerge out of San Francisco in the late twentieth century.&raqart movement to emerge out of San Francisco in the late twentieth century.»

While shelves of books have been written about Pop art, The Pop Revolution is the first to approach it not only as an aesthetic upheaval, but also as a bellwether for the social, cultural, economic and political changes affecting America and Europe in the late twentieth century.

A major contributor to late twentieth and twenty - first - century art, she is the first artist to make sculptures out of paint, eliminating the boundary between painting and sculpture.

Although Morandi rarely traveled outside of Italy and never beyond Europe, his work was exhibited internationally and was included in a number of landmark presentations in the United States beginning in the late 1940s, such as Twentieth - Century Italian Art, organized by Alfred H. Barr, Jr. and James Thrall Soby at The Museum of Modern Art, New York, in 1949; the important exhibition Painting in Post-War Italy, 1945 - 1957, at the Casa Italiana at Columbia University, New York; and The New Renaissance in Italy at the Pasadena Art Museum, California — both in 1958, which captivated an American audience.

About the Center for Curatorial Studies at Bard College (CCS Bard) The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late twentieth - century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world.

Despite a decade of tremendous artistic achievement and consistently favorable reviews, Lewis never received the kind of recognition and financial success his white colleagues enjoyed, and it was only in the late twentieth century that his work began to occupy a central place in histories of American art.

During the late twentieth century, the concept of collage broadened and spread far beyond the visual arts to include musical and architectural arrangements as well as photographic collage (photomontage), assemblage and crafts like decoupage.

Bellamy's life story is a fascinating window into the transformation of art in the late twentieth century.

With these works, which remain unique even today, they crucially influenced the history of art in the late nineteenth and the early twentieth century.

A specialist in late nineteenth - and twentieth - century art American and European art, he has worked in curatorial capacities at the Cincinnati Art Museum, The Nelson - Atkins Museum of Art, Kansas City, Missouri, and the Museum of Fine Arts, Bostart American and European art, he has worked in curatorial capacities at the Cincinnati Art Museum, The Nelson - Atkins Museum of Art, Kansas City, Missouri, and the Museum of Fine Arts, Bostart, he has worked in curatorial capacities at the Cincinnati Art Museum, The Nelson - Atkins Museum of Art, Kansas City, Missouri, and the Museum of Fine Arts, BostArt Museum, The Nelson - Atkins Museum of Art, Kansas City, Missouri, and the Museum of Fine Arts, BostArt, Kansas City, Missouri, and the Museum of Fine Arts, Boston.

«One way of understanding the relation of the terms «modern,» «modernity,» and «modernism» is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.

1994 Bill Viola: Stations, American Center, Paris, FR Visions of America: Landscape as Metaphor in the Late Twentieth Century, Denver Art Museum and Columbus Museum of Art, Ohio, US

As founder of the Documents of Modern Art series (later renamed the Documents of Twentieth - Century Art), Motherwell gave modern artists a voice at a time when very few people understood their theories or work.

As a radical re-evaluation of art history from the early twentieth century to the late 1960s, this brilliant new account of American modernism is a must - read for students and scholars of art as well as all those interested in modernism and its wider cultural history.

art, especially the exploitive and sensationalist tendencies of late twentieth - century artists like Jeff Koons, Charles Ray, Kiki Smith, and Damien Hirst.

According to the eminent British collector of contemporary art, Charles Saatchi:»... art books will be brutal about the late twentieth century.

In the tradition of late twentieth century installation art, the works in this exhibition are produced through the remains of action.

Experiments with Truth explores, for the first time, the resonance of Mahatma Gandhi's ethics of nonviolence in the visual arts through both works of the late twentieth and twenty - first centuries and masterpieces of classical religious art of the past.

Emerging in the later twentieth century, new art forms — including performance, sound, and installation art — have brought art «viewing» into closer alignment with the multisensory and participatory nature of everyday life.

[Clare Rojas] is often placed within the context of what is considered the most definable art movement to emerge out of the Bay Area in the late twentieth century: the «San Francisco Mission School.»

Even the title of Hirst's publishing and merchandise company, Other Criteria, offers an oblique art historical reference — an allusion to the late great Leo Steinberg's celebrated 1972 book Other Criteria: Confrontations with Twentieth - Century Art, which brilliantly and radically reconsidered the significance of Jasper Johns, Robert Rauschenberg and other artisart historical reference — an allusion to the late great Leo Steinberg's celebrated 1972 book Other Criteria: Confrontations with Twentieth - Century Art, which brilliantly and radically reconsidered the significance of Jasper Johns, Robert Rauschenberg and other artisArt, which brilliantly and radically reconsidered the significance of Jasper Johns, Robert Rauschenberg and other artists.

The artwork and ideas of the Korean - born artist Nam June Paik were a major influence on late twentieth - century art and continue to inspire a new generation of artists.

Once that scale of measure has been established, the elite classes of society can no longer deny the populist cultural impact, refined intellectual value, and large economic rewards created by the influence of Graffiti and Street Art, which finally can be classified as the two most prevalent styles and art movements of the late twentieth and early twenty - first centuriArt, which finally can be classified as the two most prevalent styles and art movements of the late twentieth and early twenty - first centuriart movements of the late twentieth and early twenty - first centuries.

Sarmento's moving image and performance works are rooted in a history of performance and conceptual art from the mid to late twentieth century, that uses the body as both a site of action and a tool — by the likes of Marina Abramović, Bruce Nauman, and Carolee Schneemann.

However else the original Surrealist Revolution failed for being so successfully subsumed into and sublimated by the mainstream media, it directly and positively was the foundation on which all subsequent aesthetic theories and formal strategies of mid - to late - twentieth century art were elaborated.