Sentences with phrase «on earlier modernist»

Not exact matches

They were smugly arrogant, masters of the teaching of contempt toward those who were on the other side of the «modernist» vs. «fundamentalist» wars of the early part of this century.

In Roman Catholicism, for example, one goes from the official condemnation of the «modernists» in an early part of this century to what might be appropriately described as the dominant position today, found in Pope Pius XII's Human generis (1950), which, concerning the relation between evolution and creation, accepts evolution yet insists on the special, «second» creation of the human soul.

The central issue in the early debates between Fundamentalists and Modernists was on the question whether the gospel should emphasize as the essence of the gospel, deliverance of the humans from sinfulness or affirmation of the human vocation to creativity and cooperation with God in recreating nature and society according to the purpose of God.

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

On the one hand, [modular narrative films] hark back to much earlier innovations of modernist literature and cinema.

Late 19th - century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the Abstract Expressionists, the Color Field painters, and the Lyrical Abstractionists.

On view are Illustrations by early modernist Arthur Dove and others, a genre group by John Rogers, experimental photography by Martina Lopez, abstract work by James Rosenquist as well as works by Alonzo Chappel, François Girardon, George Grosz, Daniel Ridgeway Knight, Henry Varnum Poor, Adolf Schreyer, and others.

This loss is compounded by the falling out of favour of a kind of criticism which systematically ignored what paintings were about, the modernist sort, practised by Clement Greenberg, Michael Fried and early on Rosalind Krauss.

This exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus on objects arranged to emphasize composition, form and structure.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

Similarly, when Hiller made Dream Screens (1996), a very early interactive web - based artwork in which the viewer clicks on the screen to change its colour while a woman's voice discusses the role of dreams in modernist art, simultaneously overlapping with a woman's voice discussing the theory of colour.

While Meckseper's earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

This is an excellent exhibition on the significance of Cornish modernist artists and their international network of artists that came and went or corresponded with them in the early 20th Century.

On display are new truncated assemblages composed of bronze, polished concrete, mirror acrylic and more, each suggesting the bold futurism sought by the Modernist architects» design of early and mid twentieth - century urban centers.

They recall the early modernist visages of Alexej von Jawlensky, but on a contemporary scale and with references to our political present: a raised (white) fist here, collages of African sculpture elsewhere.

Murray's work builds on the legacy of early twentieth - century Modernist movements such as Cubism and Expressionism, funneling them into her own language that is equally concerned with psychology and the quotidian.

The first exhibition in the United States exclusively devoted to the artist focuses on her pivotal production from the 1920s, from her earliest Parisian works, to the emblematic modernist paintings produced in Brazil, ending with her large - scale, socially driven works of the early 1930s.

The show comprised five sculptures each of which was made using a similar process to his earlier works: images of classical and Modernist art objects found on the Internet were rendered, via a computer, as basic three - dimensional models.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

For press information and images, please contact Jessica Eckert, [email protected] Crystalline Architecture Curated by Josiah McElheny June 30 - August 20, 2010 Page two (supplementary information) Notes on the earliest historical works in the exhibition An original copy of a limited - edition book by the architect Bruno Taut, Alpine Architektur in 5 Teilen und 30 Zeichnungen des Architekten Bruno Taut (1919), depicts a modernist architectural environment situated in the mountains.

Jeffrey Weiss, an authority on modernist and postwar sculpture, in close collaboration with Morris, systematically catalogues the object sculptures, and subjects them to critical and historical interpretation in the context of Morris's early practice overall.

It is for this reason that on the basis of this retrospective alone one could almost write a comprehensive chronicle of the esthetic relationships that have tethered the fate of American modernist painting in the last half of the 20th century to the precedents and standards of modernist painting in Paris in the early decades of the century.

And, this modernist - museum jewel in Denver's crown has been funded solely by private donations (which does include a small amount of endowment funding, in place since early on in the project, according to museum director Dean Sobel).

Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Hilma af Klint and Wassily Kandinsky.

The early pieces on view at Hollis Taggart — formative attempts at Impressionism, Pointillism, Cubism and, a bit more furtively, Surrealism — demonstrate a deep, if not particularly distinctive, understanding of modernist currents.

In 1984, she wrote a biography of early 20th century writer Hilda Doolittle, «Herself Defined: The Poet H.D. and Her World,» that was trashed by many feminists for its comments on the negative and positive sides of the modernist poet.

Some of Ms. Bove's earliest pieces, which drew heavily on her upbringing in the Bay Area in the 1970s, were spare Modernist shelves, decorated with domestic knickknacks and a highly particular cross section of books (Hermann Hesse; R. D. Laing; Betty Friedan; «Natural Parenthood,» by Eda J. LeShan.)

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Spanning the period between 1828 to 1945, the exhibition opens with the earliest form of American maritime painting — the grand academic - style portraits of graceful sailing ships — and includes waterscapes from the sea to the lakes and rivers of the American heartland, light - flooded impressionist visions of quaint New England seaside towns, and modernist renderings of industrial waterfronts and everyday life on the water

On the fifth floor, the colorful paintings of Shara Hughes push natural forms toward feverish abstraction using the Fauves and early American modernists like Charles Burchfield.

His early work features broad, calm rectangles in the manner of the American Color Field painters, but Hoyland's distinctive contribution has been to break with the modernist insistence on a flat surface and to put perspective back into abstract painting: his mature work is characterised by depth and texture, in which strange objects float in the foreground or middle distance, against an often mysterious background, in a way that is oddly reminiscent of Miro.

In the early 1970s, when sculpture was ruled by modernist monuments and Minimalist hulks, Joel Shapiro caused a sensation when he placed three - inch - high bronze or cast - iron domestic objects — a chair, a dollhouse, a coffin, a bird — on the floor of Paula Cooper's SoHo gallery.

Continuing in the collecting trends of the past year, Miami Beach saw an ongoing interest in the modernist, avant - garde painters of the early and mid-twentieth century, with major works on view from Mark Rothko, Alexander Calder and Marcel Duchamp (Duchamp's work was seen frequently throughout the week), likely inspired by the recent price tags attached to these artists» works, and their emerging stature as defining talents of the past century.

An artwork in pencil and gouache on paper, attributed to the early American modernist painter Stuart Davis (1892 - 1964), titled Abstract, measuring about 20 inches by 25 inches, topped out at $ 3,750.

Especially interesting is Wendy and Emory Reves» collection of over 1,400 objects (jewelry, furniture and paintings by impressionist, post-impressionist, and early modernist masters), on display in a 15,000 - square - foot replica of their villa on the French Riviera.

Following up her earlier work critiquing mid-century modernism, i.e., abstract painting, in which she redid Kenneth Noland stripe paintings as awnings, Morris Louis stain paintings as tie - dyes and even Barnett Newman «zips» as monochromes divided with real zippers, Dunphy is now taking on the entire modernist canon in the form of miniature embroideries.

A member of the Art Dealers Association of America (ADAA) and a founding member of the International Fine Print Dealers Association (IFPDA), the gallery deals in Post-War and Contemporary art, including Minimalism, Abstract Expressionism, Pop art, and early 20th - century British and American artists, with an emphasis on the Grosvenor School and British Modernists, Provincetown Printers, American art of the 1920s - 1940s, and the best of children's book artists.

She was influenced by modernist masters Eva Hesse and Agnes Martin, the latter of whom she spent time with on an early artistic pilgrimage to Taos.

The exhibition covers a period from the early 20th Century, when artists developed a dialogue with the new theories on evolution, over a number of modernists, to today's artists whose works are created in a technologically manipulated reality.

His early work drew on modernist iconic design pieces by Eames and Bauhaus.

The wide historical spectrum of artists» works on view includes Old Masters; Japanese prints; 19th and early 20th century American masters; European Impressionists and Modernists, as well as German Expressionists.

Despite — or, possibly, because of — its racial connotations, it's been the noncolor of choice for an unusual number of recent London exhibitions, among them Indian modernist F. N. Souza's black - on - black figurative paintings from 1965 at Grosvenor Gallery; Korean sculptor Meekyoung Shin's «Untitled (Black Series),» 2013 — comprising exquisite vases made of soap manipulated to mimic coal - colored ceramics — at Sumarria Lunn Gallery; and the late English filmmaker Derek Jarman's assemblaged «Black Paintings» from the 1980s and early»90s at Wilkinson.

«Joseph Solman, a painter who, with Mark Rothko and other modernists, helped shape American art as early as the 1930s and, into a new century, continued to paint in his studio above the Second Avenue Deli in New York, died on Wednesday at his home in Manhattan,» Michael Kimmelman writes in the NY Times obituary.

The soundtrack is a lo - fi mangled mash - up of orchestral tunes reminiscent of early Hollywood, rounding out the apparent comment on the heroic, yet failed attempts of Late - Modernist efforts; a tried and true criticism with equally worn methods.

The British contribution to early Modernist art was relatively small, but since World War II British artists have made a considerable impact on Contemporary art, especially with figurative work, and Britain remains a key centre of an increasingly globalized art world.

Elsewhere a suite of Glenn Ligon's early drawings from the mid -»80s juxtaposes famous modernist sculpture, like Brancusi's «Endless Column,» with hair pomades in a sly move that suggests the influence of African culture on European modernists.

The Ashmolean Museum's latest exhibition examines this early 20th century American pride and optimism; but also touches on something potentially frightening about the Precisionist painters» expression of that «Modernist soul».

An important influence on the development of American art during the early 20th century was the American photographer, editor, and art dealer Alfred Stieglitz (1864 - 1946), later the husband of artist Georgia O'Keeffe, who - with the help of his close colleague Edward Steichen (1879 - 1973)- devoted much of his energy to promoting fine art photography as well as modernist painting and sculpture in the New York area.

He also created sculptures based on the work of early modernists like Constantin Brancusi and Piet Mondrian, and even found inspiration in the poetry of Ezra Pound and the pared - down aesthetics of Shaker furniture.