Sentences with phrase «on early modernism»

Not exact matches

I spoke of the earlier generation, influenced by the grand gestures of modernism and sensitive to the aggressive early twentieth - century secularist attacks on religion, as writers inclined to «shout.»

Where early on all signposts lead to Langella and modernism as the arch villains, director Ross finds morsels of complications in Ben.

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

This exhibition will shed scholarly light on the aesthetic and intellectual concerns undergirding the development of this important strand of early American modernism to explore the origins of its style, its relationship to photography, and its aesthetic and conceptual reflection of the economic and social changes wrought by industrialization and technology.

Also featured in the exhibition will be a series of paintings based on memorabilia from the American punk scene of the 1970 - 80s and other works that use early Modernism as a starting point to address topics such as fascism, sex and boredom, which the artist likens to «Suprematism on poppers.»

Words Without Thoughts Never to Heaven Go, recently on view at Almine Rech in New York, the exhibition depicts a history of words used in artwork, from early modernism through to contemporary.

These works are familiar from art history texts because their large, concave faces; stylized features; inventively worked bronze and copper surfaces; and ineffably human geometries exerted a crucial influence on early French Modernism, starting with Picasso's «Demoiselles d'Avignon.»

Cézanne's influence on early 20th - century American photography is examined for the first time with examples by Alfred Stieglitz, Edward Steichen, Paul Strand, and others who played a pivotal role in introducing modernism to America.

The noncontiguous floors have made the divisions between early Modernism and America's emergence on the world stage more rigid than ever.

«Later, because he was interpreted as someone who paved the way for abstraction of the external world, [his still lifes and landscapes] were more easily related to his influence on Cubism and early Modernism.

‡ This placement on the threshold of early and late twentieth century modernism served Stankiewicz well, as he continued to exhibit and develop his sculpture throughout the 1960s and 1970s, establishing relationships with New York galleries even after he left the city in 1962 for rural Massachusetts.

The muted pink, turquoise and ochre hues that expand over the canvas have echoes of his early landscapes but are clearly on the way to becoming the red, blue and yellow that mark Mondrian's modernism.

In a way, as critic Charles Darwent has written, Ofili «seems to be reliving 20th - century modernism backwards,» cycling through clear formal periods wherein his compositions have become more stripped - down, foregoing the dense layering and collaged elements of earlier works, and often focusing on a limited color palette — including the red, green, and black of Marcus Garvey's pan-African flag in the series of paintings he began in 2000 and showed in concert in an immersive environment at the 2003 Venice Biennale's British Pavilion.

He respected Modernism and abstraction as early as 1911, but he had no interest in taking on the world.

For the exhibition, Montgomery has deepened a dialogue with early Modernism in a series of paintings that set his texts overlaid on the composition structures or «ghost outlines» of a number of Malevich paintings.

At Dreier's suggestion, these went on loan to the Brooklyn Museum, giving the young McNeil early exposure to the European modernism against which he and his future colleagues would react with such significant results.

Earlier European modernism was a strong influence on Houshang Pezeshknia, who depicted oil workers on the island of Khark in this 1958 portrait.

But it went on to make a big stamp on modernism — and maybe even on Freud's early patients, who viewed it from his couch.

Let's pause here to note that a significant portion of this figuration rides whimsically on a wave of easy nostalgia — for early modernism, for children's books, or, in the case of Jane Corrigan, who had a solo show, «EvilActivity123,» at Feuer / Mesler (January 9 — February 14), for the covers of Nancy Drew volumes.

In eighty - eight striking paintings and sculptures, Crosscurrents captures modernism as it moved from early abstractions by O'Keeffe, to Picasso and Pollock in midcentury, to pop riffs on contemporary culture by Roy Lichtenstein, Wayne Thiebaud, and Tom Wesselmann — all illustrating the complexity and energy of a distinctly American modernism.

Hand - painted, brightly colored cement / clay sculptures by Vincent Fecteau (presented on classic pedestals) also recall early Modernism.

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.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

His early work focused on subjects from American folklore, his style a combination of earlier movements and modernism.

Created shortly before Davis» death in 1964 and acquired by the museum just three years later, Blips and Ifs is both an example of the Amon Carter's deep Davis holdings and a reminder that the museum, «even from very early on, was reaching toward this understanding of the emergence of American modernism and its development,» Walker says.

Private collections of early modernism have traditionally been studied and exhibited with an emphasis on the contemplation of the works on display, neglecting the economic, social and political implications inherent to the activity of collecting in a context like that of Europe in the first decades of the 20th century.

Although Liberman studied art during a time of major developments in high modernism, his conservative art education focused primarily on earlier periods of art.

In the art world, modern refers to Modernism, a movement in the early 20th Century that focused on newness.

The restless career of one of the great provocateurs of early modernism finally gets its due from MoMA, healthfully perturbing that institution's emphasis on linear progress and creative genius with radically shifting styles and tones.

From her early investigations into urban environments and notions of citizenship to more recent research into women's contributions to modernism, Geyer's work continuously seeks to create spaces of critical, collective reflection on the construction of histories and ideas that are otherwise marginalised or obscured.

«America's Cool Modernism» takes the viewer on an impressive narrative journey through the works of famous painters and photographers of the 1920s and «30s including early paintings by Georgia O'Keeffe; photographs by Alfred Stieglitz, Paul Strand and Edward Weston; and ends with the melancholy of Edward Hopper's cityscapes.

But there was this place in between early American modernism and the New York School that had not been touched — except for Irving Sandler's first chapter of his first volume that he wrote on the New York School, The Triumph of American Painting, in which he mentioned how crucial was the role of the AAA to the establishment of American abstract art.

Furthering an investigation that dates back to early modernism, the works on view incorporate text and the spoken word in new ways.

The showcase is a mixture of the artist's particular interests in early - 20th - century art and meditations on his personal experiences, which he refers to as Baroque Modernism.

Their paintings are based on a period when there was a shared optimism about the wonders of modernism: Bridget Filey, early Frank Stella, and the generic «stripe» paintings of the»60s.

While many American writers and the painters themselves have tended to emphasize the independent and native character of these developments, they also represent in the deepest sense the transplantation on American soil of some of the early ideals of European modernism.

The works on view embrace several artistic mediums and comprises a variety of styles, from early modernism and geometric -LSB-...]

Thematic group exhibitions on Modernism, early American abstraction, realism, surrealism, abstract expressionism and social realism have also been consistently presented from new perspectives.

The earliest works in the exhibition, a series of works on paper in the Concretist tradition, illustrate the indebtedness of Clark's early practice to the abstract traditions of Modernism that had come to be assimilated into Brazilian culture in the 1940s.

The exhibition spans the entire career of Bernard Rudofsky (1905 1988), including his roots in the early years of European modernism; his world travels, which shaped his views as a designer and critic; and his influence as a curator and writer on international discourse on architecture, fashion, and design.