Sentences with phrase «on modern art history»

At a glance, it felt like perusing a chapter of a book on modern art history: primary colors, geometric shapes (or almost)-- everything was there.

Not exact matches

Culinary Cinema returns with a spread of film delicacies including Bugs, in which Nordic Food Lab chef Ben Reade takes an entertaining journey through one of the last culinary taboos in the west; Sour Grapes, featuring a good humoured take on one of the most impressive wine frauds in modern history; and Barista (above), providing an enlightening and intense glimpse into the art of producing a flawless cup of coffee.

Special midsection on art direction, Stephen Schiff on modern women in film, 1981 film in review, book reviews, David Cronenberg's Videodrome, Hollywood's epic histories of American radicals in Ragtime and Reds, Peter Greenaway, Jean Eustache, Jon Jost

Surrealism had a strong and long lasting influence on later modern art history in 20th century.

On this Wikiquote - page you find many artists - quotes on Surrealism: https://www.tes.com/teaching-resource/surrealism-short-described-in-quotes-the-french-art-movement-explained-for-students-and-pupils-6323424 Jacob Bendien explains and describes the history facts, art characteristics and the meaning of Surrealism and Surrealist artists - the typical and rather intellectual French modern art movemenOn this Wikiquote - page you find many artists - quotes on Surrealism: https://www.tes.com/teaching-resource/surrealism-short-described-in-quotes-the-french-art-movement-explained-for-students-and-pupils-6323424 Jacob Bendien explains and describes the history facts, art characteristics and the meaning of Surrealism and Surrealist artists - the typical and rather intellectual French modern art movemenon Surrealism: https://www.tes.com/teaching-resource/surrealism-short-described-in-quotes-the-french-art-movement-explained-for-students-and-pupils-6323424 Jacob Bendien explains and describes the history facts, art characteristics and the meaning of Surrealism and Surrealist artists - the typical and rather intellectual French modern art movement.

You find here artist quotes on the history facts and the characteristics of Expressionism, the modern art movement which broke with Impressionism painting.

Their erudite commentary on architecture, history, and art, whether standing among Roman ruins or modern art museums, along with the ability to make themselves understood in Italian, were a testament to Orangeburg, New York's Tappan Zee High School.

Past, present and future collide in glorious ways in these art and photography books, whether it's a modern photographer witnessing history come alive on Civil War battlefields or a discussion of why the Yellow Brick Road was yellow in The Wizard of Oz.

With a collection of classic arcade heroes that include Pac - Man to an anthology of Metal Gear Solid games from the amazing mind of Hideo Kojima, this exhibition touches on a variety of gaming genres from all eras that not only provides a blast from the past but will make new gamers appreciate the diverse history of this modern art.

There are books on shelves, in file containers along the stairway, piled in laundry baskets — and they reflect the range of his interests: Painting in the Twentieth Century, Rebels against Slavery, The End of Blackness, Invisible Man, Theories of Modern Art, African Art, Against Race, A Rumor of Revolt, A Different Mirror: A History of Multicultural America, The Salt Eaters, Of Grammatology, Black Empire, A Commentary on Heidegger's «Being and Time», The Future of the Race.

MUMA concludes our three - part series on watershed moments in art history with Technologism, a major group exhibition on the cultural, social and political impact of technological advancements in the modern era.

The exhibition draws upon the Wolfonian's collection to explore issues of identity — personal, corporate and national — as well as the impact of cultural displacement on the history of design and the role of commercial art in the modern city.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 201Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 201art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

Agnes Martin (b. 1912, Macklin, Saskatchewan, Canada; d. 2004, Taos, New Mexico), one of the most influential painters of her generation, left an indelible mark on the history of modern and contemporary art.

On view June 25 through Oct. 1, Paint the Revolution: Mexican Modernism, 1910 — 1950 offers its own sweeping history of Mexico's emergence as a modern art center.

The exhibition title references many facets of arts and culture traditions from ancient history to the modern day, arising out of Smith's meditations on the number's spiritual significance as a marker of immortality, as well a number of noteworthy cultural and historical facts and figures featuring the number itself.

In Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, Copeland focuses on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, and considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernArt, Slavery, and the Site of Blackness in Multicultural America, Copeland focuses on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, and considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernart in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernart history where the subject of race is concerned.

He specializes in the history and theory of modern art and media, with an emphasis on interwar art, photography, and film.

This week: Dr. Robert Cozzolino Senior Curator and Curator of Modern Art, at the Pennsylvania Academy of the Fine Arts talks the forthcoming UofC Press book on the History of art in Chicago and moArt, at the Pennsylvania Academy of the Fine Arts talks the forthcoming UofC Press book on the History of art in Chicago and moart in Chicago and more!

With an anticipated 2016 M.A. in Art History, Modern & Contemporary Art from CCNY, her primary focus is on installation art and contemporary art in the public spheArt History, Modern & Contemporary Art from CCNY, her primary focus is on installation art and contemporary art in the public spheArt from CCNY, her primary focus is on installation art and contemporary art in the public spheart and contemporary art in the public spheart in the public sphere.

Senior Curator, American Indian Cultural Center & Museum, OKC, OK Rachel Cook, Artistic Director, On the Boards, Seattle, WA Rebecca Hart, Curator of Modern and Contemporary Art, Denver Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Denver Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.D..

Georgetown University Keyser Family Professor of Art History, Modern Art, Elizabeth Prelinger, on Damien Hirst in «Over, Under,

Michael Lobel, Professor of Art History at Hunter College, City University of New York, curator, and author, presents his findings on one of the Modern Art Museum of Fort Worth's most popular paintings.

A comprehensive survey of current publications in the fields of visual and applied arts; includes the indexes ARTbibliographies Modern (covering modern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Tarts; includes the indexes ARTbibliographies Modern (covering modern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities FullModern (covering modern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Fullmodern and contemporary art), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Teart), Design and Applied Arts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full TArts Index (for all aspects of design and crafts) and the International Bibliography of Art (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full TeArt (covering scholarship on Western art history), together with a complementary collection of current full - text journals, Arts and Humanities Full Teart history), together with a complementary collection of current full - text journals, Arts and Humanities Full TArts and Humanities Full Text.

Presently, Max is an adjunct professor in the Department of History of Art at Hunter College in New York City, where he teaches graduate and undergraduate courses on Modern and Contemporary Art.

For many of the artists in «Ecstatic Alphabets» at the Museum of Modern Art, the chilly texts of Lawrence Weiner or the date paintings of On Kawara are history.

The first panel, on the history of long - neglected artists includes Sharon Spain, associate director of the Asian American Art Project; Mark Johnson, professor of art at San Francisco State University and curator of Asian / American / Modern Art: Shifting Currents, 1900 — 1970 at the de Young Museum; Karin Higa, adjunct senior curator of art at the Japanese American National Museum; and Gordon Chang, professor of history at Stanford UniversiArt Project; Mark Johnson, professor of art at San Francisco State University and curator of Asian / American / Modern Art: Shifting Currents, 1900 — 1970 at the de Young Museum; Karin Higa, adjunct senior curator of art at the Japanese American National Museum; and Gordon Chang, professor of history at Stanford Universiart at San Francisco State University and curator of Asian / American / Modern Art: Shifting Currents, 1900 — 1970 at the de Young Museum; Karin Higa, adjunct senior curator of art at the Japanese American National Museum; and Gordon Chang, professor of history at Stanford UniversiArt: Shifting Currents, 1900 — 1970 at the de Young Museum; Karin Higa, adjunct senior curator of art at the Japanese American National Museum; and Gordon Chang, professor of history at Stanford Universiart at the Japanese American National Museum; and Gordon Chang, professor of history at Stanford University.

Kamrooz Aram «Focus Series» The Modern Art Museum of Fort Worth, Fort Worth March 31 — June 17 The work of the Iranian - born, Brooklyn - based artist Kamrooz Aram challenges the narrative of art history, making the case for non-Western influences on modernism and abstractiArt Museum of Fort Worth, Fort Worth March 31 — June 17 The work of the Iranian - born, Brooklyn - based artist Kamrooz Aram challenges the narrative of art history, making the case for non-Western influences on modernism and abstractiart history, making the case for non-Western influences on modernism and abstraction.

He co-authored the Dada and Surrealist Word Image (1987), Mike Kelley (1999) and Kwang - Young Chung (2014); and edited Rethinking Borders (1996), Institutional Critique and After (2006), The Aesthetics of Risk (2008), Black Sphinx: On the Comedic in Modern Art (2010) and writings by Mike Kelley: Foul Perfection: Essays and Criticism (2003); Minor Histories (2004); Mike Kelley: Interviews, Conversations, and Chit - Chat, 1988 - 2004 (2005).

Perhaps because of the incandescence of the YBAs in the 1990s, British art in the 1980s often gets short thrift in terms of column inches in histories of modern and contemporary art, but — as Ikon's new show on the decade should demonstrate — it was a period of free - wheeling experimentation, in which figurative painting made a comeback, the variety of abstract styles increased, installation art grew in ambition and cut - and - paste appropriation prevailed.

Developed by the Tate Modern in London, Soul of a Nation shines a bright light on the vital contribution of Black artists to an important period in American art and history.

Welchman is co-author of the Dada and Surrealist Word Image (MIT Press, 1987), Mike Kelley (Phaidon, 1999), and Kwang - Young Chung (Rizzoli, 2014); and editor of Rethinking Borders (Minnesota UP, 1996), Institutional Critique and After (JRP Ringier, 2006), The Aesthetics of Risk (JRP Ringier, 2008) and Black Sphinx: On the Comedic in Modern Art (JRP Ringier, 2010) as well as the collected writings of Mike Kelley: Foul Perfection: Essays and Criticism (MIT, 2003); Minor Histories (MIT, 2004); Mike Kelley: Interviews, Conversations, and Chit - Chat, 1988 - 2004 (JRP Ringier, 2005).

Kathryn M Davis graduated with her master's degree in art history from the University of New Mexico, where she focused on the modern and contemporary Art of the Americart history from the University of New Mexico, where she focused on the modern and contemporary Art of the AmericArt of the Americas.

Elizabeth Rooklidge, Associate Curator, Katonah Museum of Art Boshko Boshkovic, Program Director, Residency Unlimited Adele Eisenstein, Independent Curator & Research Assistant, Alma on Dobbin Jovana Stokic, Art Historian, Curator Ming - Jiun Tsai, Independent Curator, Taiwan Lisa Varghese, Senior Director, Luhring Augustine Zuzana Jakalova Artist, Curator, MeetFactory, Prague Jenny Jaskey, Director and Curator, The Artist's Institute Joshua Decter, Independent Curator & Critic Rachel Reese, Associate Curator of Modern and Contemporary Art, Telfair Museums in Savannah GA Zuzanna Foggt, Co-founder & President of the Contemporary Art Foundation In Situ, Sokołowsko, Poland Liz Blum, Artist & Curator Stamatina Gregory, Curator & Associate Dean, School of Art at Cooper Union Alise Tifentale, Art Historian, CUNY Grad Center Leah Dixon, Visual Artist and Co-Owner of Beverly's NYC Julia Geerlings, Independent Curator & Writer, Netherlands Sharon Matt - Atkins, Vice Director, Exhibitions and Collections Management Brooklyn Museum Asya Geisberg, Owner, Asya Geisberg Gallery Sebastian Sans de Santamaria, Director of Operations, Residency Unlimited Gu Chenlin, Director of Artistic Department & Curator, Shanghai Photographers Association, China He Guyian, Deputy Director of Department of Art History & Director of the Contemporary School of Arts, Sichuan Fine Arts Institute, China

Professor Amirkhani obtained her PhD in the History and Philosophy of Modern European Art at the University of Kent in the United Kingdom in 2015, and has published articles and catalogue essays on a diverse range of material including: the British conceptual art group Art & Language; the Serbian art activists Grupa Spomenik; and contemporary art from IrArt at the University of Kent in the United Kingdom in 2015, and has published articles and catalogue essays on a diverse range of material including: the British conceptual art group Art & Language; the Serbian art activists Grupa Spomenik; and contemporary art from Irart group Art & Language; the Serbian art activists Grupa Spomenik; and contemporary art from IrArt & Language; the Serbian art activists Grupa Spomenik; and contemporary art from Irart activists Grupa Spomenik; and contemporary art from Irart from Iran.

He has lectured on various subjects in modern and contemporary art, the history of cinema and photography, and not - for - profit leadership practice both nationally and internationally.

The accompanying exhibition catalog Dwan Gallery: Los Angeles to New York, 1959 — 1971, copublished by the National Gallery of Art and the University of Chicago Press, is a richly illustrated scholarly study of the history of the Dwan Gallery by Meyer with writings by Virginia Dwan on the movements and artists she showed, and a chronology of Dwan's life and professional activities and a complete exhibition history of the Dwan Gallery in Los Angeles and New York by Paige Rozanski, curatorial assistant in the department of modern art at the National Gallery of AArt and the University of Chicago Press, is a richly illustrated scholarly study of the history of the Dwan Gallery by Meyer with writings by Virginia Dwan on the movements and artists she showed, and a chronology of Dwan's life and professional activities and a complete exhibition history of the Dwan Gallery in Los Angeles and New York by Paige Rozanski, curatorial assistant in the department of modern art at the National Gallery of Aart at the National Gallery of ArtArt.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

Ms. Aranda - Alvarado is currently on the faculty of the Art and Art History Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art and has taught courses in Modern and Contemporary Latin American aArt and Art History Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art and has taught courses in Modern and Contemporary Latin American aArt History Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art and has taught courses in Modern and Contemporary Latin American aArt and has taught courses in Modern and Contemporary Latin American artart.

Remai Modern's collecting activities began in 2014, building on the legacy of the Mendel Art Gallery's 51 - year history in Saskatoon (1964 - 2015).

The show will be focusing on new works by the 78 - year old American artist Susan Weil, a respected figure in modern art history whose life story is truly extraordinary.

This course introduces key concepts, terms, and methodologies in modern and contemporary art history, analyzing discursive and cultural shifts while focusing on artworks, exhibitions, and presentation models.

This two - semester course sequence focuses on the history of modern and contemporary art.

Groys has written more than 150 articles on modern and contemporary art, philosophy, and intellectual history in several languages.

Majoring in art history, he is an expert on avant - garde modern movements and medieval church fresco decorations.

The works in this exhibition excavate two such histories: Martin Kippenberger's attempt to establish a modern art museum on a Greek island, and Daniel Buren's murals at a now - derelict resort hotel.

The event will take place at the Institute's James B. Duke House on Friday afternoon, October 23, 2015, from 1:30 to 6:30 p.m. Co-organized by Robert Slifkin, Associate Professor of Fine Arts, Institute of Fine Arts, and Pepe Karmel, Associate Professor of Art History, NYU, in partnership with the Helen Frankenthaler Foundation, this afternoon program will feature presentations by five leading scholars of postwar modern aArt History, NYU, in partnership with the Helen Frankenthaler Foundation, this afternoon program will feature presentations by five leading scholars of postwar modern artart.

The start of a new era seems a fitting time to reflect on and explore the vibrant history of modern art in the town — an association that drew Tate to build its permanent gallery here in 1988.

In addition to the exhibition, the UAG will also present multiple programming events to include: «Q&A with the Artist: A Conversation with Wendy Red Star and Michelle Lanteri» on January 25, 2018, in the NMSU HSS Auditorium 101 at 6:00 pm; a screening of Rumble: The Indians Who Rocked the World, a feature documentary about Native American peoples» contributions to rock «n» roll history, on February 15, 2018, in the NMSU CMI Theatre at 5:30 pm; and «Considering Contemporary Art,» a panel featuring Julie Sasse, Chief Curator of Modern, Contemporary, and Latin American Art, Tucson Museum of Art; Nadiah Rivera Fellah, Guest Curator, Newark Museum and Art History PhD Candidate, CUNY Graduate Center; and Michelle J. Lanteri on March 8, 2018, in the University Art Gallery at 5history, on February 15, 2018, in the NMSU CMI Theatre at 5:30 pm; and «Considering Contemporary Art,» a panel featuring Julie Sasse, Chief Curator of Modern, Contemporary, and Latin American Art, Tucson Museum of Art; Nadiah Rivera Fellah, Guest Curator, Newark Museum and Art History PhD Candidate, CUNY Graduate Center; and Michelle J. Lanteri on March 8, 2018, in the University Art Gallery at 5History PhD Candidate, CUNY Graduate Center; and Michelle J. Lanteri on March 8, 2018, in the University Art Gallery at 5:30 pm.

Tice has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the National Media Museum (UK), the New Jersey State Council on the Arts, as well as commissions from The Field Museum of Natural History, the Houston Museum of Fine Arts, and the Museum of Modern Art.