Sentences with phrase «modern art history by»

FINALLY CONQUER that embarrassing IGNORANCE of modern art history by understanding which artistic movement was «the last stand of the isolated artistic self in a climate of conformity and increasing objectification created by techniques of mass control.»

One work which the artist made from the same materials a tarp is normally made of, takes us back through Modern Art History by referencing a tradition of sculpture.

Not exact matches

Drawing from the rich Southern history and tradition, Wren's Nest invites residents and tourists from all over to catch a fable or two, belied by mysterious and eclectic storytellers, modern day troubadours, who combine the art of the spoken word with lyric for an experience that's hard to encapsulate in words.

ArtThink: Created by the San Francisco Museum of Modern Art, this site offers theme - based activities in visual arts, language arts, history and social studies.

Age 14: Key Stage 3 national tests in English (Welsh *), maths and science, replaced by statutory teacher assessments in English (Welsh), maths, science, history, geography, design and technology, information technology, modern foreign languages, art, music and physical education.

One was inspired by a key moment in the Phantom's own history, while the other two are genuine works of modern art.

Influenced by Minimalism, American Conceptual Art, and Brazil's Neo-concrete movement, Dávila's artistic practice questions the inherent qualities of modern architecture and art throughout histoArt, and Brazil's Neo-concrete movement, Dávila's artistic practice questions the inherent qualities of modern architecture and art throughout histoart throughout history.

And because it's by Caro, and because he's now dead (R.I.P.), and because it's a piece of art history merchandising already, and because it's the prestigious Pace Gallery; because of all this and more, and for no reason due to its inherent value, since it transparently has none, unless you view it through a thick haze of sentimental regret for simpler and more certain times in abstract art; this pathetic little piece of twaddle has become a luxury commodity, imbued with all the myths of modernism, reflecting back at us our own «good - housekeeping - modern - but - weren't - we - ever - so - radical - back - in - the - sixties» taste.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

Selected group exhibitions include The Forever Now: Contemporary Painting in an Atemporal World, the Museum of Modern Art, New York (2014 — 2015); 30 Americans, organized by the Rubell Family Collection, Miami, traveling to Contemporary Arts Center, New Orleans (2014), Frist Center for the Visual Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts Center, New Orleans (2014), Frist Center for the Visual Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts Center, Cambridge, MA (2012).

At the same time, however, by recycling and affirming in 1967 his own words from nearly a decade earlier, Sylvester suggests that we can celebrate Bomberg for his genuine accomplishments as a painter and teacher while frankly acknowledging his important, if limited impact in the history of modern art — an impact which is still being assessed today.

It brings together painting, sculpture, and photography by iconic modern and contemporary artists whose work and ideas have changed the course of art history.

Moderated by Julia Robinson, associate professor of Art History, NYU, with speakers Claire Bishop, professor of Contemporary Art, The Graduate Center, CUNY; Sabine Breitwieser, director, Museum der Moderne Salzburg; Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University; and Midori Yoshimoto, professor of Art History and gallery director, New Jersey City -LSB-...]

Performance 7: Mirage by Joan Jonas is organized by Barbara London, Associate Curator, Department of Media and Performance Art; Pictures by Women: A History of Modern Photography is organized by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator, Department of Photography.

In addition to overseeing the museum's acquisitions of modern and contemporary art, is other projects included solo exhibitions of work by Cathy Wilkes, Ragnar Kjartansson, and James Lee Byars, and the group shows Reanimation, Ordinary Madness, and Natural History.

It's surprising to note that the Museum of Modern Art's upcoming exhibition of work by Tarsila do Amaral — Tarsila, as she is known in her native Brazil — is the first US show solely devoted to perhaps the most important artist in the history of Latin American modernism (11 February — 3 June 2018).

Curated by artist Michelle Grabner, Anthony Elms, associate curator at the Institute of Contemporary Art in Philadelphia, and Stuart Comer, curator of media and performance art at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floArt in Philadelphia, and Stuart Comer, curator of media and performance art at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floart at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floArt, this is the first time in the Biennial's history that each curator has been given their own floor.

«An intimate collection of American masterworks from the Old Jail Art Center (OJAC) in Albany, TX, Modern Masters, Contemporary Icons includes works by the most highly acclaimed American artists in history.

Gesture, Emotion, Shape: Sources of Abstraction by Philip Dytko, Class of 2017, Pauline Lewis, Class of 2016, and Amalia Siegel, Class of 2016, Art History 71: The American Century - Modern Art in the United States, Winter 2015, Mary Coffey, Class Project, Israel Sack Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 14 - July 12, 2015.

Keith was chosen from among these nominations by review committee members assembled by the High: Dr. Kellie Jones, the inaugural Driskell Prize recipient and associate professor and director of undergraduate studies in the department of art history and archaeology at Columbia University; Valerie Cassel Oliver, the 2011 Driskell Prize recipient and senior curator of the Contemporary Arts Museum Houston; and the High's Wieland Family Curator of Modern and Contemporary Art, Michael Rooart history and archaeology at Columbia University; Valerie Cassel Oliver, the 2011 Driskell Prize recipient and senior curator of the Contemporary Arts Museum Houston; and the High's Wieland Family Curator of Modern and Contemporary Art, Michael RooArt, Michael Rooks.

Coordinated by the Arts Council of England and held at the Tate Gallery, London, the symposium discussed the following topics: Recoding the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.

Highlighting new narratives in Mexico's modern art history, México 1900 — 1950 marks the first exhibition at the DMA organized by the Museum's new director, Agustín Arteaga.

Having seen an earlier Sherman survey in 1991 — several years before making art or taking my first art - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeart or taking my first art - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeart - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeArt stop last year.

Noticeably inspired by western art history and the great painters of the modern era, Orchard's works take cues from the past while also steadfastly looking to contemporary painting.

Co-organized by Robert Slifkin, Associate Professor of Fine Arts, IFA, and Pepe Karmel, Associate Professor of Art History, NYU, in partnership with the Helen Frankenthaler Foundation, the program featured presentations by five leading scholars of postwar modern aArt History, NYU, in partnership with the Helen Frankenthaler Foundation, the program featured presentations by five leading scholars of postwar modern artart.

Rosenberg's idea of painting as «action», of «becoming» through «doing», is returned to us by Johns as an activity of undoings — undoing the myriad signs given us by the modern world or the history of art.

Conceptual Art Explore the fundamentals of the Modern's permanent collection through these chronological gallery talks led by scholars in art and art histoArt Explore the fundamentals of the Modern's permanent collection through these chronological gallery talks led by scholars in art and art histoart and art histoart history.

Current projects include In the Shadow of the Negress: A Brief History of Modern Artistic Practice, which explores the constitutive role played by fictions of black womanhood in Western art from the late - eighteenth century to the present, and a companion volume — tentatively entitled Touched by the Mother: Contemporary Artists, Black Masculinities, and the Ends of the American Century — that brings together many of his new and previously published critical essays.

The history of modern art, from dada onwards, is littered with movements whose subversive force has been emasculated by cultural acceptance, a fact of which the artists here are painfully aware.

The exhibit could fairly have been titled A History of Modern and Contemporary Art as interpreted by Rashid Johnson.

Further highlights include Polly Apfelbaum's strips of textile that are combined to form a colorfully woven painting; Rashid Johnson's tropical enclave containing various unexpected elements from sculptures made with shea butter to video portraits; Katherine Bernhardt's monumental painting with tropical birds, cuddly robots and cigarette stubs, which at once editorializes and summarizes modern culture and the artist herself; an interactive multimedia installation by Nedko Solakov comprising nine sofas in the shapes of the nine Chinese characters constituting the phrase «I miss Socialism, maybe»; and Yu Hong's large - scale painting depicting a famous Chinese fable widely cited in both modern Chinese art history and Chinese Communist narratives.

The National Portrait Gallery, meanwhile, looks at the origins of art photography via the work of four celebrated figures of the Victorian era, and Tate Modern takes things further with Shape of Light, which entwines the histories of photography and abstract art from the early 20th century to now and positions work by the likes of Man Ray and Thomas Ruff against abstract paintings, sculptures and installations.

Lothar Hempel, presented by Anton Kern Gallery and Stuart Shave / Modern Art, will present a new installation in the form of a market place, where fragments of history and other forms of reality are for sale.

He co-authored the Dada and Surrealist Word Image (1987), Mike Kelley (1999) and Kwang - Young Chung (2014); and edited Rethinking Borders (1996), Institutional Critique and After (2006), The Aesthetics of Risk (2008), Black Sphinx: On the Comedic in Modern Art (2010) and writings by Mike Kelley: Foul Perfection: Essays and Criticism (2003); Minor Histories (2004); Mike Kelley: Interviews, Conversations, and Chit - Chat, 1988 - 2004 (2005).

Developed by the Tate Modern in London, Soul of a Nation shines a bright light on the vital contribution of Black artists to an important period in American art and history.

In recent years, we've been invited to guest curate the hundredth anniversary OPEN FORUM talks at The Armory Show, co-curate the Latvian Pavilion at the 55th Venice Biennale, and received the highest level of press in our history with reviews by the New York Times, Artforum, Modern Painters, Art in America, and more.

This exhibition reconsiders the state of contemporary art in Latin America, investigating the creative responses of artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress.

The accompanying exhibition catalog Dwan Gallery: Los Angeles to New York, 1959 — 1971, copublished by the National Gallery of Art and the University of Chicago Press, is a richly illustrated scholarly study of the history of the Dwan Gallery by Meyer with writings by Virginia Dwan on the movements and artists she showed, and a chronology of Dwan's life and professional activities and a complete exhibition history of the Dwan Gallery in Los Angeles and New York by Paige Rozanski, curatorial assistant in the department of modern art at the National Gallery of AArt and the University of Chicago Press, is a richly illustrated scholarly study of the history of the Dwan Gallery by Meyer with writings by Virginia Dwan on the movements and artists she showed, and a chronology of Dwan's life and professional activities and a complete exhibition history of the Dwan Gallery in Los Angeles and New York by Paige Rozanski, curatorial assistant in the department of modern art at the National Gallery of Aart at the National Gallery of ArtArt.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

Wondrous the metaphor for cultural wipeout extracted by the same Huang Yong Ping from a glop of paper that had held the history of Chinese painting until run through a washing machine (The History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987history of Chinese painting until run through a washing machine (The History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987/1993).

The show will be focusing on new works by the 78 - year old American artist Susan Weil, a respected figure in modern art history whose life story is truly extraordinary.

Greater New York is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; Douglas Crimp, Fanny Knapp Allen Professor of Art History at the University of Rochester; Thomas J. Lax, Associate Curator of Media and Performance Art, The Museum of Modern Art; and Mia Locks, Assistant Curator, MoMA PS1.

The event will take place at the Institute's James B. Duke House on Friday afternoon, October 23, 2015, from 1:30 to 6:30 p.m. Co-organized by Robert Slifkin, Associate Professor of Fine Arts, Institute of Fine Arts, and Pepe Karmel, Associate Professor of Art History, NYU, in partnership with the Helen Frankenthaler Foundation, this afternoon program will feature presentations by five leading scholars of postwar modern aArt History, NYU, in partnership with the Helen Frankenthaler Foundation, this afternoon program will feature presentations by five leading scholars of postwar modern artart.

This purchase by the Museum and the McNay Contemporary Collectors Forum allows the McNay to present a more inclusive and truthful history of modern and contemporary art to our community.»

The artworks will address notions of recycling (objects and ideas), micro-modernism (as a «do - it - yourself Modernism), the site (the Essex Street Market specifically), the history of Modern Art, Design and Architecture, sustainability, the urban environment, and crafts, but most important the real motive is the dialogue generated by the project itself and its contingent.

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history, curated by Klaus BiesenbaArt held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history, curated by Klaus Biesenbaart in MoMA's history, curated by Klaus Biesenbach.

DAI's Fractured Forms exhibition examines timeless influence on modern painting By Gary Spencer The Fixx once sang in their one - hit wonder from the 1980s «one thing leads to another,» and that is certainly the case in the history of visual art.

2004 Hidden Histories, New Art Gallery Walsall, West Midlands, UK; curated by Michael Petry Whitney Biennale, Whitney Museum of American Art, New York, USA Shelly Hirsch & Jim Hodges, Roulette at Location One, New York, USA Treble, Sculpture Center, Long Island City, New York, USA Drawing Modern: Works from the Agnes Gund Collection, The Cleveland Museum of Art, Cleveland, Ohio, USA Off the Wall: Works from the JP Morgan Chase Collection, Bruce Museum of Arts and Sciences, Greenwich, Connecticut, USA Mad About the Boy, The New Gallery, Walsall, England

Moderated by Thomas Crow (Rosalie Solow Professor of Modern Art, and Associate Provost for the Arts at New York University), the panel will include Darcy Huebler (Associate Dean of the School of Art, California Institute of the Arts), Liz Kotz (Associate Professor, Department of the History of Art, University of California, Riverside), and David Platzker (Curator of Drawings and Prints, The Museum of Modern Art, New York).

Several exhibitions in public institutions — Tate Modern's Frida Kahlo exhibition in 2005, the Royal Academy's tremendous «Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection» in 2014, and two Saatchi Collection initiatives, «Tectonic Shift: Contemporary Art from Chile» (2011), curated by Brunson, and «Pangaea: New Art from Africa and Latin America» — have drawn attention to the history and vivacity of art - making on the contineArt of South America from the Patricia Phelps de Cisneros Collection» in 2014, and two Saatchi Collection initiatives, «Tectonic Shift: Contemporary Art from Chile» (2011), curated by Brunson, and «Pangaea: New Art from Africa and Latin America» — have drawn attention to the history and vivacity of art - making on the contineArt from Chile» (2011), curated by Brunson, and «Pangaea: New Art from Africa and Latin America» — have drawn attention to the history and vivacity of art - making on the contineArt from Africa and Latin America» — have drawn attention to the history and vivacity of art - making on the contineart - making on the continent.