A rather public scandal resulted, with earnest defenders of propriety on one side and equally earnest
defenders of artistic freedom on the other.
Picasso's juxtaposition of figurative and cubist techniques can be seen as an
expression of artistic freedom during a time of great conflict, and his shifts in style became a means of not repeating, in his words, «the same vision, the same technique, the same formula.»
Here, indeed, are the usual suspects: Martin Scorsese, Francis Ford Coppola, William Friedkin, Robert Altman, Peter Bogdanovich, Dennis Hopper and Paul Schrader, each trying to account in his own way for the fleeting
moment of artistic freedom with which all their careers began.
There is a vibrant community of artists here that continues in this tradition and it's vital that we nurture these
forms of artistic freedom.»
From behind the mask's blue eyes comes the menacing purr of Michael Fassbender, yet this is the project that should have been called «Shame»: co-writers Jon Ronson («The Men Who Stare at Goats») and Peter Straughan («Tinker Tailor Soldier Spy») turn the frontman's prop into a potent
symbol of artistic freedom and painful social dysfunction alike.
But all the disparate elements and ideas in Robbins» screenplay gradually weave together and then cement into a rousing climax that powerfully makes its points about the
importance of artistic freedom.
While there were many great looking games at the end of the Playstation 2 era, the ones that really stood out were usually stylized in a way, allowing a certain
amount of artistic freedom.
Although Sierra said the work was a protest against the «banalization of the Holocaust,» local Jewish leaders were outraged, calling it «an
abuse of artistic freedom,» and it was ultimately shut down.
A provocateur, professor and performer, Andrea Fraser seeks to reveal the full force of the ideologies and power structures that govern the art world, asserting the autonomy of critical art by increasing the disenchantment with the
concept of artistic freedom.
Whitewalling takes a critical and intimate look at these three «acts» in the history of the American art scene and asks: when we
speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?
At the same time, knowing that African American artists had for years been largely expected to make works of social realism, and the ambition to make abstract works every bit as important as Helen Frankenthaler or Morris marked a equally revolutionary
statement of artistic freedom, the abstractions of Bowling, Gilliam, Thomas and Ed Clark — who created shaped canvases, sweeping paint across them with push - brooms — are no less arresting.
The centenary of the Russian Revolution is an opportune time to reassess the diverse products of the Soviet Union's 15
years of artistic freedom.
Impressed by Beuys»
ideas of artistic freedom, Jörg Immendorff began his own «academy» which parodied and denounced the activities of social institutions.
A send - up of Yves Klein's infamous 1960 photomontage, this work, Romanian artist Ciprian Mures ¸ an's Leap into the Void, After 3 Seconds, 2004, restages Klein's iconic
gesture of artistic freedom.
From the
comedy of artistic freedom in Duchamp to the contradictions that bind aesthetics and politics, Chan's writings revel in the paradoxes that make the experience of art both vexing and pleasurable.
They confronted a downtown milieu of white avant - garde artists and curators who perceived themselves as progressive (i.e. anti-racist) but who nonetheless tacitly condoned the use of racist discourse by advocating tolerance in the
name of artistic freedom.
Guided by some internal compass as mysterious as human creativity, Bob Rauschenberg took off on a rocket ride from utter innocence to the outer
limits of artistic freedom.
It traces their different affinities with a way of working that went beyond modernism in terms of its interest in the personal and subjective, its rejection of a coherent style and its
promotion of artistic freedom.
Despite short
periods of artistic freedom, uncertainty as to what constitutes «officially acceptable» content and style continues to hamper many artists in China.
It was Lichtenstein, with his use of pictures from comics, phone books and advertisements, who provided Gibbs with a
feeling of artistic freedom and confidence to use mass - produced advertising images as source material.
Attracted to New York's avant - garde scene, he took part in a show organized by Allan Kaprow, his professor at Rutgers, called «18 Happenings in 6 Parts» (1959); it was a seminal, fleeting neo-Dada
moment of artistic freedom that sought to blur the line between dream, art, and life.
That benefit came in the
form of artistic freedom: painters like Jay DeFeo, Ruth Armer, and Claire Falkenstein labored according to their own creative impulses, unhindered by the pressures of or competition for commercial success.
The unique interplay of subject, form and medium that can be seen in Quinn's work conveys the artist's own
sense of artistic freedom.
Many of the issues raised by this case —
of artistic freedom and responsibility; the role of race in art and criticism; painting as, once again, a contested medium; the status of intentions and motivations — all make this affair indicative of deep tensions in our art culture.
Walker spoke as a defender
of artistic freedom, but she was speaking from experience.
It was a time of rebellion, of experimentation and
of artistic freedom.