Sentences with phrase «of global art history»

The gallery has contributed to document underrepresented facets of global art history through its multilingual publishing division and custodianship programme.

This lecture is a methodological analysis of the objects, terms, claims, and narratives of Global Art History, World Art History, and World Art Studies.

The gallery's primary mission is to support Chinese contemporary art in China, and to preserve it within the context of a global art history.

In celebration of the DMA's upcoming exhibition Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga, join Ming Tiampo, leading Gutai expert and Associate Professor at Carleton University, Ottawa, for a discussion on the art and life of Shiraga and Motonaga in the context of global art history and the current art market with:

This major exhibition re-establishes Lam's place at the centre of global art history, and explores his personal and political journeys between East and West.

But whereas that exhibition consolidated an emergent artistic practice, Other Primary Structures consolidates a highly problematic form of global art history, one that is no less hegemonic than the narrative from which it supposedly departs.

This exhibition celebrates Lam's life and work and confirms his place at the centre of global art history.

Not exact matches

Vandal celebrates the art, architecture, and food of global culture from New York to Vietnam to Barcelona and beyond, as well as the history and culture of the restaurant's Lower East Side location.

Education in New York: Art Students League of New York • Bard College Conservatory of Music • Capital Region Independent Schools Association • New York State Education Department • Global History and Geography Regents Exam • Mathematics education in New York • New Visions for Public Schools • United Nations International School • White Plains Public Schools

The Boolean string «research misconduct» OR «research integrity» OR «research malpractice» OR «scientific fraud» OR «fabrication, falsification» OR «falsification, fabrication» was used to search: Science Citation Index Expanded (SCI - EXPANDED), Social Sciences Citation Index (SSCI), Arts & Humanities Citation Index (A&HCI), Conference Proceedings Citation Index - Science (CPCI - S), BIOSIS Previews, MEDLINE, Business Source Premier, CINAHL Plus, SPORTDiscus, Library, Information Science & Technology Abstracts, International Bibliography of the Social Sciences, America: History & Life, Teacher Reference Center, Applied Social Sciences Index And Abstracts (ASSIA), ERIC, Index Islamicus, CSA linguistics and language behaviour, Physical Education Index, PILOTS, Social Services Abstracts, Sociological Abstracts, Proquest Dissertation & Theses, ECONLIT, Educational Research Abstracts (ERA) Online, Article First, Economic and Social Data Service, Francis, Geobase, Georefs, Global Health (CABI), Index to Theses, International Bibliography of the Social Sciences (IBSS), IEEE Xplore, INSPEC, JSTOR, Mathematical Sciences Net (MathSciNet), PubMEd, Russian Academy of Sciences bibliographies, Sciencedirect, Teacher Reference Center, EMBASE, EMBASE Classics, PSYCHINFO.

In addition, students gain global and cultural competency when they are exposed to people who are different than they are, and to the art, music, history and culture of other nations, races and peoples.

Literature, Installation Art, and Films on Partition A Visual History of the India - Pakistan Partition by Aanchal Malhorti Short stories by Saadat Hasan Manto Earth, film by Deepa Mehta Cracking India, a novel by Bapsi Sidhwa (the film Earth was based on this) Midnight's Children by Salman Rushdie «The Seer of Pakistan,» essay on Manto in The New Yorker by Ali Sethi 1947 Archive, A global movement to collect and preserve witness accounts of Partition Indian Summer by Alex von Tunzelmann Indian Summers, a British TV drama series, various writers Train to Pakistan by Khushwant Singh Tamas, a movie by Govind Nihalani.

DAVID ADJAYE, «Making Place: The Architecture of David Adjaye» @ The Art Institute of Chicago Chicago «Making Place» is the first comprehensive museum survey of global architect David Adjaye «s portfolio of more than 50 built projects, which includes the forthcoming National Museum of African American History and Culture on the National Mall in Washington, D.C.. His approach to design is unique: «Rather than advancing a signature architectural style, Adjaye's structures address local concerns and conditions through both a historical understanding of context and a global understanding of modernism.»

And in a nod to Venice's place in history as an international crossroads of global trade, Prada is said to be importing art and antiques on loan from far - flung institutions — juxtaposing, say, a Jeff Koons sculpture with china and ceramics from Saint Petersburg's Hermitage Museum.

It is also invaluable artistic material for academics redefining art history by integrating these pieces into the canons of British and global contemporary art.

Ronald Tramplin, ed, The Arts — History of the 20th Century — Global Cross Currents, page 217 Framing Feminism and the Woman's Movement 1970 — 1985, Griselda Pollock -LSB-...]

The University of Iowa's MA program in Art History, which is closely affiliated with the school's highly ranked art school, is intended to give students a broad, comprehensive grounding in the global history of aArt History, which is closely affiliated with the school's highly ranked art school, is intended to give students a broad, comprehensive grounding in the global history History, which is closely affiliated with the school's highly ranked art school, is intended to give students a broad, comprehensive grounding in the global history of aart school, is intended to give students a broad, comprehensive grounding in the global history history of artart.

To the end of my days I will curse myself for missing this epochal exhibition at the Haus der Kunst in Munich, which offered a true global history of art from 1945 to 1965.

Ludwig has an MA in Global Arts from Goldsmiths University of London and a BA in Art with a concentration in Art History from Colby College.

Shaheen Merali is a curator and writer, based in London, who explores the intersection of art, cultural identity and global histories in his work.

2015 100 + Degrees in the Shade, A Survey of South Florida, Miami, FL Global Positioning Systems: Uses of History, Perez Art Museum, Miami, FL Self Proliferation, Girls Club Collection, Ft. Lauderdale, FL Wild Noise, El Museo Nacional de Bellas Artes, Havana, Cuba

For more than 60 years Ernst Gombrich's The Story of Art has been both a colossal global bestseller — with more than 8 million copies sold — and the perfect introduction to art history, from the earliest cave paintings to art of the 20th centuArt has been both a colossal global bestseller — with more than 8 million copies sold — and the perfect introduction to art history, from the earliest cave paintings to art of the 20th centuart history, from the earliest cave paintings to art of the 20th centuart of the 20th century.

«My husband Gustavo — always a proponent of a global outlook — and I have made the integration of culture from Latin America into the wider narrative of art history the goal of the CPPC from its inception,» said Patricia Phelps de Cisneros, Founder of the CPPC.

2015 100 + Degrees in the Shade, A Survey of South Florida, Miami, FL Global Positioning Systems: Uses of History, Perez Art Museum Miami, Miami, FL From Within and Without: The History of Haitian Photography, NSU Art Museum, Fort Lauderdale, FL DCG Summer Show, David Castillo Gallery, Miami Beach, FL

ART AFRICA: Your paintings represent iconic history, personal experiences and the leaders of global nations.

Significant as these two works are, both within Oiticica's oeuvre and in terms of their impact on the trajectories of Brazilian culture and global art history, they comprise only one element of the Whitney's retrospective, which takes an expansive view of the impressively diverse work Oiticica produced in just two and a half decades from the mid 1950s until 1980.

Taken as a whole, this ambitious exhibition catalogue encapsulates the energy, heart, and «dissonance of styles» — in the words of Schjeldahl — embodied by this fascinating and fecund moment in global art history.

His intellectually sophisticated, yet understated works transcend the regional themes and materials of his generation to resonate with a global history of contemporary art.

Her curatorial work focuses on artistic production from the neo avant - garde until today, particularly rooted in global art histories, the intersections of sound and performance with traditional media, and the function of contemporary art within encyclopedic museums.

Signals: If You Like I Shall Grow is the first exhibition to reunite the works of Signals London's three founding artists, David Medalla, Gustav Metzger, and Marcello Salvadori, while also tracing the global impact resulting from the confluence of interests generated at that specific point in art history.

It presents a narrative that explores the resonances between Indonesia and the world and offers a reading of Indonesian art history in dialogue with global art history.

Continental Shift - Artists from the African continent in Europe, Bonnefantenmuseum, Maastricht, The Netherlands Intelligence: New British Art 2000, Tate Britain, London South Meets West, Accra, Ghana and Kunsthalle, Bern, Switzerland 1999 From where - To here, Art from London, Konsthallen Göteborg, Sweden Kunstwelten im Dialog, Museum Ludwig, Cologne Missing Link, Museum of Arts, Bern, Switzerland Heaven, Kunsthalle Düsseldorf, Germany; Tate Gallery, Liverpool Mirror's Edge, Bild Museet, Umeå, Sweden; toured to Vancouver Art Gallery, Canada; Castello di Rivoli, Torino, Italy; Tramway, Glasgow; Charlottenborg, Copenhagen, Denmark Citibank Private Bank Photography Prize, Photographers» Gallery, London In the Midst of Things, Bournville Village, Birmingham Secret Victorians, Arts Council Touring Exhibition, Ikon Gallery, Birmingham; Firstsite, Colchester; Arnolfini, Bristol; Middlesborough Art Gallery; Museum and Art Gallery, Brighton; Armand Hammer Museum, Los Angeles, USA Sensation, Brooklyn Museum of Art, New York, NY, USA 1998 Cinco Continentes y una Ciudad, Museo de la Ciudad de México, México D.F. Personal Effects; Sculpture & Belongings, Spacex Gallery, Exeter; toured to Angel Row Gallery, Nottingham Ethno - antics, Nordic Museum, Stockholm, Sweden Crossings, National Gallery of Canada, Ottawa, Canada Liberating Tradition, Bard Center for Curatorial Studies, New York, NY, USA Transatlantico, Centro Atlantico de Arte Moderno, Canary Islands, Spain Beyond Mere Likeness: Portraits from Africa and the African Diaspora, Duke University Museum of Art, Durham, North Carolina, NC, USA Global Vision; New Art from the»90s, Deste Foundation, Athens, Greece 1997 Sensation: Young British Art from the Saatchi Collection, Royal Academy of Arts, London; toured to the National Gallery of Berlin, Germany and the Brooklyn Museum of Art, New York, NY, USA Portable Personal Histories Museum, Ikon Gallery, Birmingham Trade Routes: History and Geography, 2nd Johannesburg Biennale, South Africa Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966 - 1996, Caribbean Cultural Center / African Diaspora Institute, New York, NY; Studio Museum, Harlem, NY; the Bronx Museum of the Arts, New York, NY, USA Pictura Britannica, Museum of Contemporary Art, Sydney, Australia; toured to the Art Gallery of South Australia, Adelaide and the City gallery, Wellington, New Zealand What, Trinity Buoy Wharf, London 1996 Pledge Allegiance to A Flag?

Excerpting from Phaidon's «Biennials and Beyond — Exhibitions That Made Art History: 1962 - 2002» and with a short introduction by Amelia Ames, we trace the history of three exhibitions that changed the history of «global» exhibition cHistory: 1962 - 2002» and with a short introduction by Amelia Ames, we trace the history of three exhibitions that changed the history of «global» exhibition chistory of three exhibitions that changed the history of «global» exhibition chistory of «global» exhibition culture.

Posthumously his works were shown in 1999 in an important exhibition held at the Queens Museum, New York entitled Global Conceptualism: Points of Origin, 1950s — 1980s and in 2009/10 at Centre Pompidou, Paris, in the group show The Promises of the Past: A Discontinuous History of Art in Former Eastern Europe.

Acts, solo show at Kunst Werke Institute for Contemporary Art, 2013, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique, solo show at Musée d'Art Moderne de la Ville de Paris, 2013, Paris; dOCUMENTA (13), 2012, Kassel; Performing Histories (1), Museum of Modern Art, 2012, New York; 10 ans du Projet pour l'Art Contemporain, Centre Pompidou, 2012, Paris; 4th Moscow Biennale, 2011, Moscow; The Global Contemporary.

Artists were selected to represent a range of influences and themes that stretched the genre's connections to art history and into the global information age, he said.

Smith is firmly entrenched in Texas Art History — she was recently included in the following publications: Global Corporate Collections (2015), Texas Abstract (2014), The State of the Art: Contemporary Artists in Texas (2012), and Texas Artists Today (2010).

Their themes of collective or individual exploration include: histories of textile and garment manufacturing from cottage industry to global production; craft / art / design dialog; social and gendered histories of labor; and textiles as surface, sculpture and architecture.

Drawing on global weaving traditions as well as the history of painting and sculpture, graphic design, and architecture, American artist Sheila Hicks has redefined the role of fibre in art and influenced a generation of contemporary artists with her interdisciplinary visual language.

This word is befitting for him, firstly due to the fact that one would literally be flattened under certain works if they were ever to fall (the marble blocks being one example), but also because the artist himself bears a certain pressure of accountability; the vertigo of global production and the weight of art history.

I know one thing — MacGregor's liberal history of cultural encounters and global diversity, which he communicates through books and radio as well as British Museum's displays, has taught people a lot more about global art than anyone will learn from Campbell's film.

To Future Women uses the platform of art to historicize one of the largest networked protests in global history while creating a time capsule for the next generation of women.

The exhibition examines the history of the artist - orchestrated meal, assessing its roots in early - twentieth century European avant - garde art, its development over the past decades within Western art, and its current global ubiquity.

It also references the artist's own performative practice in relation to situated, embodied histories, the intermingling of the local and the global, art both as possibility for insight and mass industry and ways to complicate its future.

Part art and part history, these letters will be archived for twenty years by participating national cultural institutions in Washington DC and re-exhibited on 21st January, 2037, historicizing one of the largest networked protests in global history while creating a time capsule for the next generation of women.

New Owners DECOR magazine is now owned by Redwood Media Group — purveyors of fine art exhibitions, events, education and editorial with a decades - long history of serving the global fine art community.

The news comes just a day after LACMA announced that collectors Gérard and Dora Cognié will give the museum its largest gift of contemporary Chinese and global ink - related art in the museum's history, burnishing its position as a global player with a large collection Asian art.

«Contemporary African art has been present on the global art scene long enough for imaginary forms stemming from creative minds to be apprehended first and foremost through the intrinsic nature and the intricate relations between form, medium and space, before being loaded with the burden of history and cultural specificity.»

Visitors will explore Brazilian art history and major postwar movements channeled through Maiolino's personal, psychologically charged practice that not only charts her own path as a mother, migrant and global citizen, but poses significant philosophical questions of repetition and difference, transience and permanence.

Recent exhibitions and exhibition series have focussed on art and the history of art education, as well as processes of history telling and commemoration in a global context and interrelations between art and media technologies.