Sentences with phrase «on the art history canon»

-- Art in America «Co-curators Teresa A. Carbone and Kellie Jones present four convincing essays that address aspects ranging from representational strategies of artists, the use of photography beyond simple reportage, the impact of this work on the art history canon, and the globally situated struggle for emancipation.

Not exact matches

BOOK & EXHIBITION Kerry James Marshall definitive monograph and «Kerry James Marshall: Mastry,» a major retrospective: The practice of Chicago - based painter Kerry James Marshall is based on recasting the art history canon with representations of black people and black narratives.

Kerry James Marshall on Jean Auguste Dominique Ingres Painter Kerry James Marshall's practice is based on recasting the art history canon with representations of black people and black narratives.

Toby Kamps said, «Spotlight continues to reveal extraordinary, under - recognized figures and, in the process, to question traditional canons and shed new light on recent art history.

Therefore, the artist's works are, on the one hand, evocative of the Western art historical canon, while on the other, they upend engrained traditions as they vividly investigate the grey area between so - called «objective» history and subjective memory.

In 2019, the second chapter in the series will focus on how museums, collectors, and others are re-inscribing African American artists and artists of the African Diaspora into the canon of the history of art.

Toby Kamps said, «Spotlight continues to reveal extraordinary, underrecognized figures and, in the process, to question traditional canons and shed new light on recent art history.

The compositionally dense works play with the social and current realities of today, with an interest in ornamentation and surface, and draw on the legacy of history as told through the Western canon of painting and the applied arts.

Drawing on the canon of art history, and long tradition of landscape painting, Eisberg pays homage to the work of another great German artist, Caspar David Friedrich's The Sea of Ice.

Culled from the collection of Markus Michalke, the exhibition includes drawings in the canon of Minimalist and Conceptual art history that range from working sketches to realized works on paper.

Loose and disjointed narratives involving the histories and materiality of painting are found in several videos: Ragnheiour Gestsdottir's video «As If We Existed,» portrays the fictitious melodrama of a figurative painter working in Venice; Tameka Norris's «Purple Painting» incorporates makeup and food in a provocative video that, with few words, touches on issues surrounding race, gender and the pressures of an art historical canon; in Alex Hubbard's video «Hit Wave II,» a magician gives instructions for tricks, but the sounds and activities surrounding him allude to action painting with Hubbard in the background wearing a paint suit and creating gestural marks with spray paint.

Inspired by the feminist masterpiece The Dinner Party by Judy Chicago, this exhibition featured artists who have risen above the narrow roles imposed on women and whose work has challenged the status quo, particularly within the canons of art history.

Lucas Arruda's work obstinately concentrates on a well defined theme within the canon of art history in order to examine complex contemporary mental states.

Over the past five years, Baldessari has placed an emphasis on the art historical canon, particularly the history of painting.

Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, opening simultaneously, the conference moves on to explore conceptions of the modern unconscious and the «hallucinatory» dimension of canon - narratives on the unstable terrain of undead histories.