Sentences with phrase «of radical artists»

Jannis Kounellis (1936 - 2017), who died suddenly a year ago, was one of the major protagonists of Arte Povera, a movement of radical artists that emerged in Italy in the 1960s.

A decade later, she and her husband, the abstract painter Ben Nicholson, worked in a community of radical artists in Hampstead, London, and exhibited with the great Dutch artist Piet Mondrian.

There are also lots of international superstars in the line - up, which is not something WIELS usually go in for, but there is a very good representation of radical artists of all kinds of backgrounds, genders, disciplines and ages, something WIELS is particularly good at: Francis Alÿs, Monika Baer, Stanley Brouwn, Marlene Dumas, Isa Genzken, Thomas Hirschhorn, Carsten Höller, Martin Kippenberger, Goshka Macuga, Nástio Mosquito, Oscar Murillo, Gerhard Richter, Wolfgang Tillmans, Luc Tuymans, to mention just a few.

After moving to Paris in 1958, Le Parc visited Victor Vasarely's studios, which was to have a lasting influence on Le Parc's practice, as was the founding of the radical artists» collective, Groupe de Recherche d'Art Visuel (GRAV) in 1960.

This iconic Colorado community was an early adopter of geodesic dome architecture, constructions that reflected the aspirations of a group of radical artists and filmmakers to create a live - in work of art.

LESSON # 3: THE INTENTION OF THE RADICAL ARTIST — With that vision from Lesson # 1, artists have to separate their work and talent from everyone else and find their unique niche.

This major group exhibition of contemporary women artists, across mediums, styles and genres, coincides with and responds to The Fine Art Society's, London, representation of the radical artist Gluck (1895 - 1978) who, determined to be known for her art not her gender, cropped her hair, and adopted the androgynous name with «no prefix, suffix or quote.»

Not exact matches

From the Cabaret Voltaire to Andy Warhol's Factory, from the silent film comedians to the Beatles, from the first comic - strip artists to the present managers of the Underground, the apolitical have made much more radical progress in dealing with the media than any grouping of the Left.

He says that Catholic artists are no longer producing life - giving images of God, that Church people are themselves admitting that even in their rare moments of prayer they can not evoke the image of God nor call on his name (because these are inextricably linked with transcendence) and that many of the Church's own radical prophets and seers have witnessed to the death of God and to the fact that we can speak of God only when we speak of Christ.

According to Gore, her daughter and Hip Mama's art director, Maia Swift, found Ana Alvarez - Errecalde and «reached out to her so we could feature her in Hip Mama as an artist who is doing beautiful work in terms of self - directed and radical images of motherhood.»

Sen. Kirsten Gillibrand (D., N.Y.) is keynoting a conference in Brooklyn featuring several controversial artists, including a group that teaches kids how to become «radical agents of social and political change» using principles of the Black Panther Party.

Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses — and shares the radical idea that, instead of the rare person being talk - Traduzione del vocabolo e dei suoi composti, e discussioni del forum.

Career analyst Dan Pink examines the puzzle of motivation, starting with a fact that social scientists know but most managers don't: Traditional rewards Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses — and shares the radical idea that, instead of the rare person being

Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses — and shares the radical idea that, instead of the rare person being It's the day.

When Andrew decides to contribute a film to the Humpday fest (a real - life amateur porno festival sponsored by Seattle alternative weekly The Stranger), a piece of art that will «push boundaries,» Ben proposes (in front of a crowd of artist - types) that the two of them — two straight men — have sex on camera as a radical performance piece.

i think you are not aware of what SEMA is about Mr Auto Professional, it was not the detroit auto show, SEMA is about radical, Rides, Customizers, Artist selling dreams, I do nt Like Picaso's Work but if i found one i would be proud to own it.

«Infinite Comics» in particular incorporates some of the most radical approaches to digital storytelling in the industry, combining the theories articulated by Scott McCloud and the mind - blowing practices of the French artist Yves «Balak» Bigerel.

We created this project to support underground artists and to use Internet as a free and collaborative platform for exchanging information hundreds of news, record reviews, interviews, rants, columns and many more all about underground music and radical ideas.

For me, graphics-wise Battlefield was interesting because of the way they do lighting - its tile - based Compute - oriented lots - of - non-shadowing lights approach was quite radical, especially for artists.

The creator, my friend and colleague Angela Washko, spent years researching the world of pick - up artists and its intersection with the «manosphere» (i.e. outspoken right wing misogynists on the Internet), an effort that included a long interview with the infamous Roosh V in an attempt of «radical empathy».

boasts a collection of twelve tracks from cutting - edge artists including Algiers, Radical Face, Timber Timbre and Hozier as well as time - honored classics by Bobby Darin, Gordon Lightfoot and a slowed - down version of «Jolene» by the legendary Dolly Parton.

Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the modernist tradition.

Produced in a basement flat in London's Notting Hill Gate by three editors, Richard Neville, Jim Anderson and Felix Dennis, the magazine was renowned for its psychedelic covers by pop artist Martin Sharp, cartoons by Robert Crumb, radical feminist thought by Germaine Greer and provocative articles that called into question established norms of the period.

Baker writes: «Drawing a connection between the redrawing of political borders and the subsequent exchange of ideas among previously alienated artists, the exhibition theorizes that the surge of creativity in the 1920s and 30s could have been a direct response to the mingling of Russian Constructivists (who migrated west due to the increasingly conservative Soviet policies against the avant garde) and the radical Dutch conceptualists they encountered.

These artists entered the canon under the heading of «institutional critique,» and many of their once - radical ideas have been thoroughly embraced by art organizations.

The sudden fusion of these disparate schools of thought and technique would birth a wide body of new works and approaches to painting and sculpture, with artists like Klee and Miró driving forward radical new ideologies in the creation of abstract works.»

Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses — and shares the radical idea that, instead of the rare person «being» a genius, all of us «have» a genius.

The most authentic statement of Manet's sense of his situation as a man and as an artist may well be his two versions, painted in 1881, of The Escape of Rochefort, in my opinion unconscious or disguised self - images, where the equivocal radical leader, hardly an outright hero by any standards, is represented in complete isolation from nature and his fellow men: he is, in fact, not even recognizably present in one of the paintings of his escape from New Caledonia.

Spearheading this movement, Robert Irwin began to take ideas from philosophical inquiries into the nature of human experience and radical advances in perceptual psychology and combine them with the immersive abstraction that had been pioneered by artists such as Jackson Pollock, Mark Rothko, and Barnett Newman.

Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.

Featuring more than 120 artists from 15 countries, Radical Women: Latin American Art, 1960 — 1985 focuses on their use of the female body for political and social critique and artistic expression.

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.

Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color from the mid-1960s to the mid-1980s.

This unique exhibition and panel discussion examines the visual impact of the radical disruption that transpired during the tumult of the Communist Revolution, and how this informs the perspectives of Chinese artists Kuo Ming Chiao, Chuang Che, and Fu Shen.

Yves Klein (1928 — 1962), was a conceptual artist par excellence, a radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely more: a believer living in his own sense of the divine», whose diverse practice included ephemeral works in his quest for immateriality.

Exhibition catalogs such as «We Wanted a Revolution: Black Radical Women 1965 - 85» and «Soul of a «Nation: Art in the Age of Black Power,» and the scholarly publication «South of Pico: African American Artists in Los Angeles in the 1960s and 1970s,» document the Black Arts Movement and the artists and works that defined the Artists in Los Angeles in the 1960s and 1970s,» document the Black Arts Movement and the artists and works that defined the artists and works that defined the period.

BASIC FACTS: «Radical Seafaring — A Survey of Artist Initiated, Site - Specific Works on the Water» is on view May 8 through July 24, 2016 at the Parrish Art Museum, 279 Montauk Highway, Water Mill, NY 11976.

Rail: Most of us who have followed your work for a while know that you identify with the experimental spirit and radical politics of the»60s and»70s, especially feminism, as seen in the works made by artists such as Joan Semmel, Howardena Pindell, Louise Fishman, and Harmony Hammond.

As part of a radical young group of artists, Beckley exhibited glossy photographs of erotic content and typed fictions.

After being shown at prestigious museums such as Moderna Museet in Stockholm, and the Hamburger Bahnhof in Berlin, the exhibition comes to Museo Picasso Málaga, presenting for the first time in Spain the work of this unusual artist, with more than 200 works that summarize her complex, consistent and radical career.

The answer is long and complex, and has much to do with the radical shifts in culture that have occurred over the past 25 years or so, both in Britain and the world: the unstoppable rise of art as commodity and the successful artist as a brand; the ascendancy of a post-Thatcher generation of Young British Artists (YBAs) who set out, unapologetically, to make shock - art that also made money; the attendant rise of uber - dealers such as Jay Jopling in London and Larry Gagosian in New York; and the birth of a new kind of gallery culture, in which the blockbuster show rules and merchandising is a lucrative sideline.

It also shows a small selection of Riley's seminal abstract paintings, illuminating the ways in which the artist developed her radical style.

Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965 — 85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second - wave feminism.

Painting became almost radical and came to represent a new intersection merging fresh ways of seeing and traditional methods of art making to rediscover, and reinvent, a medium rift with possibility and enlivened with artists actively re-imagining what painting could be.

The exhibition is co-curated by Benno Tempel, Director of the Gemeentemuseum Den Haag, with curator Jet van Overeem, presents a radical new reading of the artist, which reflects the clarity and scholarship of Hans Janssen, the Gemeentemuseum's Mondrian Curator since 1991, and a world expert on Mondrian and De Stijl.

BOOKSHELF A number of recent exhibition catalogs have featured artists from the Black Arts Movement and AfriCOBRA in particular, including «Soul of a Nation: Art in the Age of Black Power,» «Witness: Art and Civil Rights in the Sixties,» «The Freedom Principle: Experiments in Art and Music, 1965 to Now,» and «We Wanted a Revolution: Black Radical Women, 1965 — 85.»

Charting Richard Long's critical reception, this anthology of writings tracks the artist's radical rethinking of the relationship between art and landscape.

He draws from a history of radical art practices from Soviet avant - garde figures such as Rodchenko and Malevich, to more recent contemporary American artists Jimmie Durham and David Hammons.

Gingeras is an independent curator as well as holding an adjunct curatorship at Dallas Contemporary, where she most recently curated Black Sheep Feminism: The Art of Sexual Politics, which examined the work of four radical feminist artists from the 1970s: Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti.

Inspired by the radical changes of the 1980s, 1990s, and the new millennium, this new wave of Chicana artists, including Judy Baca, Diane Gamboa, Camille Rose Garcia, Yolanda Gonzalez, Judithe Hernandez, Patssi Valdez, Linda Vallejo and more introduced remarkable artistic philosophies and methodologies into the art historical canon.