Sentences with phrase «only radical art»

The work of Mullican (1919 — 1998) and others, including his friend Gordon Onslow Ford (1912 — 2003), shatters the myth that the only radical art being made in America in the 1940s and»50s was by the Abstract Expressionists.

Not exact matches

«Very broadly, one could state that Pomona, between 1969 and 1973, had the most radical art program, not only in California, but probably in the U.S.,» says Rebecca McGrew, senior curator at the Pomona College Museum of Aart program, not only in California, but probably in the U.S.,» says Rebecca McGrew, senior curator at the Pomona College Museum of ArtArt.

Setting forth a radical example of what can be achieved when art and architecture are united with goals for spatial and social justice, this project signified the desire not only to house, but to house with dignity and sustain community.

Andrea Rosen Gallery is thrilled to announce an exhibition of Stan VanDerBeek (d. 1984), whose visionary approach to art making was not only radical in his time, but is also increasingly reflective of a contemporary discourse around the integration of media, technology, and everyday life.

They are combined with works by four contemporary artists, that not only show stylistic similarities to the distinctively white works from half a century earlier, but also a shared appetite for radical new ways to make art.

The critic and founding editor - in - chief of Artnet magazine for 16 years, he has chronicled the «radical masquerade» of the avant - garde, heralding new talent, skewering the deserving, and identifying epochal shifts in the art scene, from his pronouncement that «there are no art movements, only market movements» to his lament about the rise of «zombie formalism» in contemporary painting today.

The radical cultures of the 1970s played a role not only in Polke's art but also in his eccentric and unconventional lifestyle.

Numerous scholars have explored the history of performance art as a manifestation of radical shifts in social thought and artistic practice, but only a small handful of publications have specifically focused on black performance art.

Grey Art Gallery Director Lynn Gumpert notes, «Ernest Cole not only documented life in South Africa but also pushed for radical change.

As a result, the works in Radical Women defy not only the invisibility of female artists throughout region, but disrupt existing scholarly and curatorial narrations of late modern and early conceptual art practices across Latin America's different avant - garde movements.

The exhibition demonstrates the significant changes in artistic practice that coincided with the burgeoning number of art schools and university art departments, nonprofit art spaces, alternative galleries and artist - run spaces and publications that not only provided exhibition opportunities but, in the relative absence of commercial support, also created a community that fostered an exchange of radical forms and ideas.

SITElines signifies a radical rethinking of SITE's signature exhibition: when SITE Santa Fe opened in 1995, it launched what was then the only international biennial of contemporary art in the United States, and one of only a handful of biennials around the world.

The only female artist affiliated with the radical 1960s art movement Arte Povera, Marisa Merz holds a special place in the history of Modern art.

Known for embodying the radical power of art not only in the grandest of gestures but also in the most misshapen, haphazard, collective, bric - a-brac of even the smallest of chance statements, BHQF rose to national and international prominence with recognition of the Brucenniel.

Known for embracing risk and chance, Cunningham believed in the radical notion that movement, sound, and visual art could exist independently of each other, coming together only during the «common time» of a performance.

The narrative of the Hegelian dialectic, which is the conceptual basis for this process of negation, has come to a standstill, which isn't to say that the history of art has ended, as Hegel feared - and - hoped, but only that the seemingly radical pursuit of negating gestures, having become an end in itself, is a source of objects which are as aesthetically delectable as any Modernist masterpieces.

The only painter in the founding group, Klein was a highly influential artist whose radical techniques and conceptual gestures laid the groundwork for much of the art of the 1960s and»70s.

Not only does the exhibition give an understanding of the radical approach of these «minimal» artists, it is also an exhibition about the art of collecting.

Frampton played a great role — not only did he inspire Andre's radical position and approach to sculpture through their conversations about art [2], he also introduced him to Brâncuși and through the Romanian artist, he became re-acquainted with Frank Stella, whom he knew from the Phillips Academy.

This iteration of the Whitney Biennial promises the «breakdown of boundaries between art forms» in its radical agglomeration of artists working in disparate fields, not only in visual art, but in music, performance, dance, and film.

All of his sculptures and films are thoughtfully conceived works of art, but they are also radical experiments the outcome of which we (and the artist) can only guess at before they have come to an end.

The only painter in the founding group, Klein was a highly influential artist whose radical techniques and conceptual gestures laid the groundwork for much of the art of...

Not only is young art selling, but some of the most radical art is finding willing buyers.