Sentences with phrase «much art theory»

I'm an avid reader — mainly novels, not much art theory — and I'm more interested in the style.

Not exact matches

It really does nt matter what my beliefs system was, let's just say it was based on chaos theory and science as applied to occult arts, I have since moved on to more pragmatic beliefs but I clearly recall how oppressive they were and surprised at how much propaganda they spread that was based on their ignorance.

«Theory» holds sway in contemporary discussions of literature, poetry, and art these days as much by force of habit as by ardent conviction.

Much of the story centers on the smothering and painfully pretentious art world the trio inhabit and skewers the artistic community's grand delusions of changing the world with impenetrable academic theory, which makes the show sound unbearably dry.

While most scholarship treats films as fodder for validating and perpetuating sacred theoretical frameworks, much like Thomas Kuhn's scientific paradigms, film criticism takes each film primarily as an autonomous art object and derives from the object the analytical tools necessary for discussing it, which may or may not be found in film theory toolkit.

In this fascintating TED talk he explains his Theory of Roughness and how fractals can be found all around us in: cauliflowers, the stock market, mountainous landscapes and much more... Fractals and the Art of Roughness;

If you are an art collector, however, you may not have as much of an interest toward in - depth tutorials on color theory.

[61] Art Historian Anna Chave considers the Guerrilla Girls» essentialism much more profound, leading the group to be «assailed by... a rising generation of women wise in the ways of poststructuralist theory, for [their] putative naiveté and susceptibility to essentialism.»

How much theory was developed, and art analyzed?

EXILE presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generational and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

In contemporary art theory, much has been written about collaborative and socially engaged artistic practices, and their relationship to spectacle.

During the 1970s, Lucy Lippard, Miriam Schapiro, Judy Chicago, and other feminists put forth a theory about women's art, finding that an enclosure or rounded form was at the center of much work by women, including O'Keeffe, whose flower paintings, begun in the 1920s, had often been described as symbolic of female sexuality.

Exile presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generatioal and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

While much of the art criticism that invokes Austin focuses on his reflections on «parasitism,» there are other dimensions of his theory worth emphasizing here.

In 1983, Board President Henry (Hank) Luce III negotiated a long - term lease for the New Museum in the Astor Building in SoHo at 583 Broadway, between Houston and Prince Streets, where the New Museum had a much larger gallery space and offices, and, after a major renovation in 1997, a bookstore with an international selection of publications on art, theory, and culture at large.

So even though the theory is relatively clear - abstract art is detached from reality - the practical task of separating abstract from non-abstract can be much more problematical.

The mid-20th century is chosen here as the historical anchor for the conceptual origins of Ruyter's work not so much to mark the coming into formation of a corresponding historical period, but because a group of events from this period, relating to the histories of science, art and, more importantly, cybernetic theory, provide Ruyter's paintings with their contextual depth:

Kenny Schachter ROVE, London Props & Propositions, Cleveland Institute of Art, Cleveland, Ohio 2004 Five Ways to Say the Same Sadness, University Art Museum, University at Albany, New York eRacism: electronica, Contemporary Art Museum St Louis, St. Louis, Missouri reFunkt: prints & dvds, The Project, New York eRacism, Rutgers University, New Brunswick, NJ; traveled to Artists Space, New York 2003 Foddah, Drew University, Madison, New Jersey Some: Of Place and Desire, ArtHouse, Austin eRacism, DiverseWorks, Houston, TX; traveled to Portland Institute of Contemporary Art, Portland 2002 What's Inside a Boy, The Project, Los Angeles eRacism, ICA at Maine College of Art, Portland Incontinent, Wood Street Gallery, Three Rivers Arts Festival, Pittsburgh, Pennsylvania 2001 Hole Theory, The Project, New York 2000 Eracism: White Room, ThreadWaxing Space, New York The Hole Inside The Space Inside Yves Klein's Asshole, Concordia University, Montreal Eating The Wall Street Journal And Other Current Consumptions, Mobius, Boston 1998 Recent Work, The Project, New York 1996 Buddy Performance Objects, with Jim Calder, Touchstone Theater, Bethlehem, Pennsylvania 1993 William Pope.L, Horodner Romley Gallery, New York 1992 William Pope.L, Drew University, Madison, New Jersey 1991 How Much is that Nigger in the Window, 30 performances, writings and installations, Franklin Furnace, New York

The art critic Harold Rosenberg (1906 - 78)(who was as much a part of the group as any of the artists) once remarked that the only thing on which these artists could all agree was that there was nothing on which they could agree,» and in hindsight the differences in their styles and theories of art seem as pronounced as the similarities.

In the latter part of the 20th century, an emerging generation of postmodern critics challenged Greenberg's theories, though none could deny that Greenberg had laid the foundations for the questions of «high» versus «low» art that animated much of late 20th - century critical discourse.

They didn't really talk so much about painting as they did criticism, and the art criticism was what helped you develop your theories around painting: What it meant and where you wanted it to go.

This is why we get all these conspiracy theories by what appears to be liberal arts students and climatologists who don't know much about electrical engineering.