Sentences with phrase «on twentieth century art»

It remains his most important statement on twentieth century art.

Not exact matches

As scholar Georg Bassmann (in German Art of the Twentieth Century) persuasively contends, had Hitler and Goebbels looked favorably on modern art, their support of it could have provided Nazism a bridge to the «liberal educated middle class.&raqArt of the Twentieth Century) persuasively contends, had Hitler and Goebbels looked favorably on modern art, their support of it could have provided Nazism a bridge to the «liberal educated middle class.&raqart, their support of it could have provided Nazism a bridge to the «liberal educated middle class.»

PHILADELPHIA, PA - MARCH 10: «Rocky» Director John G. Avildsen Receives City Of Philadelphia Special Citation in celebration of the 90th Anniversary of Metro - Goldwyn - Mayer Studios and the release of THE ROCKY HEAVYWEIGHT COLLECTION on 4k Blu - ray from Twentieth Century Fox Home Entertainment, at Philadelphia Museum of Art on March 10, 2014 in Philadelphia, Pennsylvania.

Today, as explained on the site, ArtThink provides «in - depth investigation of twentieth - and twenty - first - century art and artists by using SFMOMA's award - winning interactive programs, Making Sense of Modern Art and Voices and Images of California Art, as the basis for stuart and artists by using SFMOMA's award - winning interactive programs, Making Sense of Modern Art and Voices and Images of California Art, as the basis for stuArt and Voices and Images of California Art, as the basis for stuArt, as the basis for study.

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.

AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.

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.

Taken together, Knowles's art places him squarely in the tradition of Laurie Anderson, Joseph Beuys, Stuart Sherman, Paul Thek, and other twentieth - century artists who opened a large window on do - it - yourself production, interiority and the shifting registers with which an artist's voice can enunciate in social settings.

Focusing mainly on twentieth century abstract and minimal art, the Collection's exhibitions, hosted in the Daimler Contemporary gallery, are always well put together with a strong art historical message and a clear concept.

He has built important collections of African, Asian, and African - American art, among others, and has authored and curated many catalogues and exhibitions on subjects ranging from ancient ceramics to twentieth - century Mayan textiles.

The first major exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiArt, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiart and painting.

Reintroducing Zao's work to a North American audience, the authors make a substantial contribution to scholarship on transnational art movements in the twentieth and twenty - first centuries.

Making Painting is curated by Turner scholar James Hamilton, whose writings on nineteenth and twentieth century art have explored the continuing resonance of Turner's life and work across the past two hundred years.

The composition is dominated by a large expanse of wood painted with the artist's iconic cadmium red, resulting in an area that resonates and reverberates with an intensity of color that is unrivalled in twentieth century art, except perhaps by the forces of color created by Mark Rothko on his large - scale canvases.

The collection begins with Ashcan School painting and follows the major movements of the twentieth century in America, with strengths in Modernism and Social Realism, Precisionism, Abstract Expressionism, Pop Art, Minimalism, Postminimalism, art centered on identity and politics that came to the fore in the 1980s and 1990s, and contemporary woArt, Minimalism, Postminimalism, art centered on identity and politics that came to the fore in the 1980s and 1990s, and contemporary woart centered on identity and politics that came to the fore in the 1980s and 1990s, and contemporary work.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Ireson has also lectured extensively around the world on impressionist, post-impressionist, and early twentieth century art, and has taught at the Courtauld Institute of Art, Londart, and has taught at the Courtauld Institute of Art, LondArt, London.

Hefuna's work was recently featured in the exhibition On Line: Drawing Through the Twentieth Century at tartistshe Museum of Modern Art.

He has written a number of essays on Venezuelan art and has curated exhibitions in Venezuela and abroad of art of the nineteenth and twentieth century in Venezuela.

Meets Jim Dine and introduces him to monotype techniques; writes catalogue essay for The Painterly Print: Monotypes from the Seventeenth to the Twentieth Century, Metropolitan Museum of Art, New York (travels to the Museum of Fine Arts, Boston, 1981); the monotype Window Sequence (Fire)(fig) is included in that exhibition; solo exhibition: Pace Editions, New York; group exhibitions: Aspects of the» 70's: Directions in Realism, Danforth Museum, Framingham, Massachusetts; Three Decades, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts; Realist Works on Paper, Virginia Museum of Fine Arts, Richmond.

Including major installations and rarely seen works on paper and archival materials, the exhibition is a long - overdue exploration of Le Parc's central role in twentieth - century art history.

The programme you've announced for this year has an emphasis on the twentieth century; a show covering a century of British figurative painters centred on Francis Bacon and Lucien Freud; a show on the art after the First World War, followed by a show of the Victorian pre-Raphaelite painter Edward Burne - Jones...

Object - based art, which grew into a major twentieth - century trend and continues today, took its cue from the ready - made, and Re-Object explores the continuation and transformation of both lines in contemporary artistic practice, via large - format photographs and analytical essays on the artists.

Where it overlaps, of course, is the role of British artists in the twentieth century, and the mark that international artists have made on British art in the time they've spent here.

This exhibition illustrates the profound impact of Africa's art and rich history on twentieth - century African American artists.

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.

Jordan's emphasis on the intersection of art and politics in the twentieth century informs much of her academic research, and she is currently working on a book that places the aesthetic and political conflicts of Picabia's era in dialogue with more contemporary political debates.

New areas of activity for the museum include a more intense focus on its role as an archive and resource for advanced study of twentieth - century art, and to this end the library will become a repository of archives and other materials ancillary to the actual art works in the collection.

Focusing on the notion of abstraction in twentieth - century and contemporary Belgian art and the varying sources of influence and inspiration among the artists of two generations, Tuymans has selected fifteen artists whose work either articulates a relationship to abstraction or takes as its cue the definition of abstraction.

Ben Brown Fine Arts is thrilled to announce its second solo exhibition of works on paper by Alighiero Boetti, one of the most important and influential Italian artists of the twentieth century.

Compared to the art that wore its emotions on its sleeve from the Renaissance to the twentieth century — of Boticelli, Hugo van der Goes, van Gogh, or Arshile Gorky — Schiele's suffering comes out of nowhere, while his anger is fixed determinedly in past art.

Martin received her Ph.D. in twentieth - century British art from Yale University in 2009 and has authored numerous essays on the work of modern and contemporary artists, including Rasheed Araeen, Kader Attia, Rina Banerjee, Leslie Hewitt, Ed Ruscha, and Yinka Shonibare.

One of the most significant, funny, and nails - on - a-chalkboard jarring artists of the second half of the twentieth century, Bruce Nauman has expanded the scope of traditional art practice and influenced a generation of artists.

A graduate of the École Spéciale d'Architecture in Paris, she was the editorial director of the Paris - based contemporary African art magazine Revue Noire from 1994 to 2001, and editor of numerous books on contemporary visual arts and photography in Africa including An Anthology of African Art: The Twentieth Century, Photographers from Kinshasa and Anthology of African and Indian Ocean Photography: a century of African photographeart magazine Revue Noire from 1994 to 2001, and editor of numerous books on contemporary visual arts and photography in Africa including An Anthology of African Art: The Twentieth Century, Photographers from Kinshasa and Anthology of African and Indian Ocean Photography: a century of African photographeArt: The Twentieth Century, Photographers from Kinshasa and Anthology of African and Indian Ocean Photography: a century of African photogrCentury, Photographers from Kinshasa and Anthology of African and Indian Ocean Photography: a century of African photogrcentury of African photographers.

Residents and Visitors: Twentieth - Century Photographs of Louisiana is the eighth collaborative exhibition drawn from the collections of the New Orleans Museum of Art (NOMA) and The Historic New Orleans Collection (THNOC), and the first to be based solely on institutional photographic holdings.

The exhibition is devised and curated by Turner scholar James Hamilton, whose writings on nineteenth - and twentieth - century art have explored the continuing resonance of Turner's life and work across the past 200 years.

The Rivendell Collection of Late Twentieth Century Art is on permanent loan to the Center for Curatorial Studies.

Contemporary Chinese Photography and the Cultural Revolution, Staatliche Mussen zu Berlin, Berlin, Germany (2017); The Exhibition Go Annual Contemporary Art in China, Beijing Minsheng Art Museum (2016); Silk Road International, Art Museum of Nanjing University of Arts, Nanjing, China (2016); New Capital: Huang Yu Collection Exhibition, Museum of Contemporary Art, Chengdu, China (2016); Guns and Roses, Kunstraum, Potsdam c / o Waschhaus, Germany (2016); Links — Locality and Nomadism, The Galaxy Museum of Contemporary Art, Chongqing, China (2015 - 2016); Beyond the Earth — The First Xi'an Contemporary Photography Exhibition, Xi'an Art Museum, Xi'an, Shaanxi Province, China (2015); Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre, Beijing, China (2015); Unfamiliar Asia: The Second Beijing Photo Biennial, CAFA Art Museum, Beijing, China (2015); China 8: Contemporary Art from China on the Rhine and Ruhr, Folkwang Museum, Essen, Germany (2015); 2nd Three Shadows Experimental Image Open Exhibition, Three Shadows Photography Art Centre, Beijing China (2015); and Pull Left — Not Always Right,» Urban Arts Space, Ohio State University, Columbus, OH (2014), Hillstrom Museum of Art, Saint Peter, MN (2014); and Unboundedness, China Cultural Center, Berlin, Germany (2013 - 2014).

The diverse works on view include rare early pictures, major examples of the Pictorialist art movement by figures such as Peter Henry Emerson and George Seeley, and a broad range of twentieth - century art and vernacular photographs.

Alternative Figures in American Art, 1960 to the Present, Curated by Dan Nadel, Matthew Marks, New York, NY 1995 Pacific Dreams: Currents of Surrealism and Fantasy in Early California Art 1934 - 1957, Oakland Museum, UCLA Hammer Museum of Art and Nora Eccles Harrison Museum of Art, UT 1993 Selections from the Permanent Collection - California: Art from the 1930s to the Present, San Francisco Museum of Modern Art 1989 Forty Years of California Assemblage San Jose Museum of Art, Fresno Art Museum and Joslyn Art Museum 1986 California Sculpture: 1959 - 1980, San Francisco Museum of Modern Art 1985 Art in the San Francisco Bay Area 1945 - 1980, Oakland Museum 1984 Contemporary American Wood Sculpture, Crocker Art Museum, University of Arizona Museum of Art, Huntsville Museum of Art and Chrysler Museum The Dilexi Years 1958 - 1970, Oakland Museum 1982 100 Years of California Sculpture, Oakland Museum Northern California Art of the Sixties, De Saisset Museum, University of Santa Clara 1976 California Painting and Sculpture: The Modern Era, San Francisco Museum of Modern Art and National Collection of fine Arts, Smithsonian Institution 1975 Masterworks in Wood: The Twentieth Century, Portland Art Museum First Artists» Soap Box Derby, San Francisco Museum of Modern Art 1971 Continuing Surrealism, La Jolla Museum of Art 1969 An American Report on the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collectioon the Sixties, Denver Art Museum American Sculpture of the Sixties, Grand Rapids Art Museum 1968 On Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public CollectioOn Looking Back: Bay Area 1945 - 62, San Francisco Museum of Art The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Seattle Art Museum and De Young Museum 1967 FUNK, University Art Museum, Berkeley, and Institute of Contemporary Art, Boston American Sculpture of the Sixties, Los Angeles County Museum of Art and Philadelphia Museum of Art 1966 Twenty Drawings: New Acquisitions, Museum of Modern Art, New York Two - Dimensional Sculpture, Three - Dimensional Painting, Richmond Art Center, CA 1964 Annual Exhibition of Contemporary American Sculpture, Whitney Museum of American Art 1962 Fifty California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Art Gallery and Des Moines Art Center Public Collections

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art JournArt in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journart of the early twentieth century for Art JournArt Journal.

She received a doctorate from Yale University in 2009 for her research on twentieth century British art and architecture and is the author of lengthy critical essays on the work of many modern and contemporary artists, including Rasheed Araeen, Kader Attia, Rina Banerjee, Frank Bowling, Lara Favaretto, Leslie Hewitt, Asger Jorn, Wangechi Mutu, Ed Ruscha and Yinka Shonibare.

Although, if Europe produced the noted critics of the nineteenth century (Baudelaire in France and Ruskin in England), and America produced Greenberg and Rosenberg in the twentieth century, one wonders if the next «big» art critic might not arise in China, the superpower on the horizon.

Considering the making and shaping of Modernism in St Ives, and marking the breakthroughs, revivals and continuities of artistic ideas which emerged throughout the twentieth century, the exhibition focuses on some of the international meeting points which feed into the story of St Ives and British Art.

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, «In the Studio: Paintings,» exhibited at 522 West 21st Street, spanned from the mid-sixteenth through the late twentieth centuries and included over 50 paintings and works on paper by nearly 40 artists.

Last week, the New York Studio School hosted members of the Center for Italian Modern Art (CIMA) for an interesting talk on one of the greatest Italian painters of the twentieth century: Giorgio Morandi — the subject of the current exhibition at CIMA, on until June 25th.

2014 Venus Drawn Out: 20th Century Drawings by Great Women Artists, The Armory Show Modern, New York, NY Beyond the Spectrum: Abstraction in African American Art, 1950 - 1975, Michael Rosenfeld Gallery LLC, New York, NY RISING UP / UPRISING: Twentieth Century African American Art, Michael Rosenfeld Gallery LLC, New York, NY The Harmon & Harriet Kelley Collection of African American Art: Works on Paper, Pennsylvania Academy of Fine Arts, Philadelphia, PA African American Art: Harlem Renaissance, Civil Rights Era and Beyond, Crocker Art Museum, Sacramento, CA Conversations: African and African American Artworks in Dialogue from the Collections of the Smithsonian National Museum of African Art and Camille O. and William H. Cosby Jr., Smithsonian National Museum of African Art, Washington, DC Prospect.3: Notes for Now, New Orleans Museum of Art, New Orleans, LA

Dr. Flam is the author of numerous books, catalogues, and articles on various aspects of nineteenth and twentieth - century art, and on African art, and is most recently co-author of the catalogue raisonné of Robert Motherwell's paintings and collages and of Robert Motherwell: 100 Years.

Floor Six, predominantly focused on art since 1960, opens first, on April 6, 2016; Floor Seven, which includes works from the first half of the twentieth century alongside more contemporary offerings, will open on April 27, 2016.

Greenough notes the insights provided by the correspondence on their art, their friendships with many key figures of early twentieth - century American art and culture, and, most especially, their relationship with each other.