Sentences with phrase «many radical gestures»

At once a political epic and a radical gesture in personal filmmaking, Steven Soderbergh's Traffic is an unexpected, unlikely triumph.

He is renowned for being one of the first artists to make the radical gesture of taking the canvas off the stretcher and hanging it directly on the wall in works such as Purple Octagonal 1967, as well as making provocative sculptures such as Third Rope Piece 1974, the intimate scale of which directly responds to traditional ideas of monumental art.

She made radical gestures in response to the history of dance, and practiced in unconventional spaces without any music.

«The works in Charles Gaines: Gridwork 1974 — 1989 are radical gestures.

Founded in 1977 as a radical gesture by art historian and curator Marcia Tucker, the New Museum began as an alternative model of museum practice.

In a New York art scene dominated by Abstract Expressionism, with its emphasis on ineffable, sublime themes and maximum emotion, to depict something as humdrum as a flag was a radical gesture.

His most radical gesture was the creation of the 90 cans of Artist's shit with the content of 30 grams that was sold for the current price of gold (30 gr of something in the can is equal to the 30 gr of gold, which was approximately 37 dollars).

A «Radical Gesture» The Studio Museum was founded in 1968 to provide a venue for artists of African descent to exhibit their work when opportunities to do so at mainstream institutions were few.

«The museum was a radical gesture to address the exclusion of black artists from the canonical presentation of art history,» Thelma Golden, director and chief curator of the Studio Museum in Harlem, told the New York Times.

Their performances have taken place as radical gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.

Read about Italian - born artist Monica Bonvicini who refuses to be confined by the architecture of her surroundings, but offers in her radical gestures, her own menu of obstacles.

Ajemian's idea of running other people» paintings through the washing machine is a radical gesture that questions authorship and originality.

Not only does Rauschenberg demonstrate his irresistible formal sensibilities in the body of the painting by using socks and doilies as another artist might use oil and acrylic, but having strutted his formal stuff satisfactorily, the artist crowns his efforts with a mocking, stuffed bird, as if to drive home the casual ease with which this radical gesture was achieved.

Garnett comments: «I think that painting is a radical gesture.

Perhaps the artist's most radical gesture was to transport the image from a confined two - dimensional surface (the paper) onto an -LSB-...]

His short career was characterised by many radical gestures, often touched with his flair for spectacle.

The commonly developed method of dialogical painting is artistic practice and radical gesture at the same time.

These radical gestures reconfigure our understanding of the medium's history, opening it up for future generations to explore.

These seemingly internecine art world problems are mirrored in culture at large, where branded feminism appears in the guise of once - radical gestures: from Lynda Benglis's phallic woman, to the indiscriminate schlong - wagging of Miley Cyrus; from the mantra «the personal is political,» to countless «lady blogs» microscopping the daily minutiae of celebrities through a «feminist lens»; from the fight for equal pay to the «Lean - In» ideology espoused by Facebook executive and self - styled activist Sheryl Sandberg, which rethinks «revolution» as a greasy ladder that can be scaled through technocratic efficiency and a 24/7 work ethic.

Not exact matches

Radical Augustinians from Calvinists and Jansenists (including Pascal) through Kierkegaard and Catholic postmodernists such as Jean - Luc Marion emancipate this gesture of radical transcendence from the Platonic moorings still at work in AugRadical Augustinians from Calvinists and Jansenists (including Pascal) through Kierkegaard and Catholic postmodernists such as Jean - Luc Marion emancipate this gesture of radical transcendence from the Platonic moorings still at work in Augradical transcendence from the Platonic moorings still at work in Augustine.

In any case, as the 90s closed this rock - bohemian leftism increasingly appeared as little but a confused incoherence that took hyper - radical political gestures for granted (sort of as another mode of transgressionism — Chomskyite Marxism for me, Marilyn Manson for thee, piercings for both of us) even as its actual materialism and actual political impotence / apathy became ever - more pronounced.

And yet those datable acts of beginning, radical though they were, and archetypal for all later reflection about America, were themselves mythic gestures which could not but stir up, at the beginning and later, the images and symbols of earlier myths and mythically interpreted histories.

«Emersonian self - reliance identifies dissent as the quintessentially American gesture,» writes Sacvan Bercovitch, «and then universalizes it as the radical imperative to subjectivity.»

From subtle gestures of reclamation to more radical remodelling, the works in Unsettlement strive to confuse architecture's functionality, undermine its authority or explode its mythologies.

A post-minimalist who emerged during the Black arts movement of the 1970s, Charles Gaines's investigations of series and systems, cognition and language stood askew against the radical and representational gestures of his counterparts.

Viewing Ferrer's works as embodied gesture acknowledges their radical departure from depiction.

A post-minimalist who emerged during the Black arts movement of the 1970s, his investigations of series and systems, cognition and language stood askew against the radical and representational gestures of his counterparts.

A conceptual artist who emerged during the Black Arts Movement of the 1970s, his investigations of series and systems, cognition and language stood askew against the radical and representational gestures of his counterparts.

By the time I did the last show at Alan's in 1969, I realized that I had to do something drastically radical from the relative gesture of my wrist, which was becoming too habitual.

It brought a radical freedom to art and design, through gestures that were often funny, sometimes confrontational and occasionally absurd.

Their performance has taken place as a gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.

Combined with his interest in American abstract painting this research lead him in the 70s to make a series of particularly ambitious paintings, not only by their unusual format in France at the time (two by three meters, two by six meters), but also by the almost total withdrawal of the gesture of the artist, an indirect inscription of the pictorial surface, a minimalistic and radical process that influenced, among others, Martin Barré.

The recent exhibition Besides, With, Against, and Yet: Abstraction and the Ready - Made Gesture at The Kitchen showed the radical diversity of what passes as abstract painting today, and has induced me to reconsider some of my older prejudices.

His work could be described as radical minimalism in painting, while his monochromatic paintings are reduced to canvases with carefully executed gesture cuts.

Known for paintings that merged the gestures of mid-century abstraction with the political iconography of 20th - century radical graphics, I continue my ongoing interrogation of Modernism with a significantly expanded visual lexicon.

Known for embodying the radical power of art not only in the grandest of gestures but also in the most misshapen, haphazard, collective, bric - a-brac of even the smallest of chance statements, BHQF rose to national and international prominence with recognition of the Brucenniel.

Despite Whitten's frequent invocation of political figures and events in the titles of his paintings, his work has remained resolutely abstract since the 1970s, when he began radical experiments to relinquish compositional control, eliminating the hand, gesture, and paintbrush itself.

Many of his most famous images feature African Americans, a gesture that in itself can be considered radical within a predominantly white, western art historical context.

The narrative of the Hegelian dialectic, which is the conceptual basis for this process of negation, has come to a standstill, which isn't to say that the history of art has ended, as Hegel feared - and - hoped, but only that the seemingly radical pursuit of negating gestures, having become an end in itself, is a source of objects which are as aesthetically delectable as any Modernist masterpieces.

Given its radical scale and ambition, the inclusion of large scale (albeit unprotected, and acessible - feeling) works by Julian Schnabel, George Condo, and Rita Ackermann and many others, the Brucennial should be considered a serious curatorial gesture.

The only painter in the founding group, Klein was a highly influential artist whose radical techniques and conceptual gestures laid the groundwork for much of the art of the 1960s and»70s.

If Boltanski and Chiapello's contention is right — that the challenge to bourgeois security posed by the «artistic» demands of the»60s for radical liberation and authenticity has proved uniquely compatible with a new phase of capitalism, a capitalism through which individuals are embedded within networks that turn these very freedoms into competitive mechanisms — then in a very real way, every creative gesture provides new opportunities for future exploitation.

The artist explores a variety of monochrome colour blocks, surfaces, geometrical patterns, and dimensions via methodical repetition of gestures: a radical and dynamic approach to the canvas; that refuses any form of subjectivity.

The only painter in the founding group, Klein was a highly influential artist whose radical techniques and conceptual gestures laid the groundwork for much of the art of...

«That many of these add - ons are mere gestures, at best, is now clear, as their impacts on home energy consumption can now be measured and usually offer scant justification for the radical nature of the design.»

Another radical departure for Apple is the elimination of the «home» button in the X. It's been replaced by screen gestures, like swiping.