Sentences with phrase «other early modernist»

Not exact matches

They were smugly arrogant, masters of the teaching of contempt toward those who were on the other side of the «modernist» vs. «fundamentalist» wars of the early part of this century.

On view are Illustrations by early modernist Arthur Dove and others, a genre group by John Rogers, experimental photography by Martina Lopez, abstract work by James Rosenquist as well as works by Alonzo Chappel, François Girardon, George Grosz, Daniel Ridgeway Knight, Henry Varnum Poor, Adolf Schreyer, and others.

Taking its example from other European modernists like Joan Miró, the Color Field movement encompasses several decades from the mid 20th century through the early 21st century.

Tillman Kaiser shares concerns with other contemporary European artists in displaying a fascination with early modernist design, Utopian ideology and Futurism redux.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Other thematically unrelated but visually cohesive works include a trio of Early Modernist knockoffs from the mid-1980s by Sherrie Levine, which remain conceptually irritating but here look refreshingly, crisply graphic; a 45 - minute video from 1994 by Gary Hill; a 2009 color photograph of a child in a white Levi's t - shirt by Josephine Pryde; some bundled pseudo-newspapers by Robert Gober (1992) and, in a collaboration between Gober and Christopher Wool, a photograph of a girl's dress hanging in a tree (the dress presumably Gober's handiwork; the photograph, Wool's), near one of the latter's enamel - on - aluminum pattern paintings.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

Smaller rooms in back hold other early sculpture along with modernist painting.

Treib's calligraphic - like brushstrokes read like some mysterious language, other forms feel grounded in the vocabulary of early modernist abstractions.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

In his early work, Will Barnet combined intimist evocations of family life with a modernist sense of form, while teaching printmaking and painting at the Art Students League, and other schools.

Highlights from the collection include furniture by Charles and Ray Eames, ceramics by Beatrice Wood, and sculptures by Claire Falkenstein, George Rickney and Peter Voulokos; Early 20th Century European Modernist paintings by Vasily Kandinsky, Alexej Jawlensky and others from the Milton Wichner Collection; and contemporary artists such as James Jean, Sherrie Wolf, and Sandow Birk whose paintings have recently been added to the collection.

Return of the Repressed looks at how artists adopted, often at great personal risk, the styles of the early twentieth - century Russian avant - garde and other modernist styles in defiance of Soviet aesthetics.

Very much present, however, are other phantoms from the past — notably those of Early Modernist Expressionism and Surrealism.

The exhibition presents the early modernist phase through works by Pablo Picasso, Georges Braque, Henri Matisse, Wassily Kandinsky, Siri Derkert, Sonia Delaunay, Edvard Munch, Ernst Ludwig Kirchner, and many others.

For example, she was included in the first Carré exhibition at the Galeries 23 (Paris) in 1930, along with other notable early 20th - century modernists.

«Joseph Solman, a painter who, with Mark Rothko and other modernists, helped shape American art as early as the 1930s and, into a new century, continued to paint in his studio above the Second Avenue Deli in New York, died on Wednesday at his home in Manhattan,» Michael Kimmelman writes in the NY Times obituary.

Recognizing the importance of Texas Modern Art, he curates exhibits at the Austin Museum of Art, Laguna Gloria and others; expanding the knowledge, appreciation, and promotion of artists from early Texas Modernists to today's artists.

The volume also holds up a mirror to the rapidly changing context for Guyton's work, which in a few short years shifted from discussions of the widespread use of modernist motifs in art during the early 2000s to others revolving around the artwork, anticipating its continuous circulation as digital media became ubiquitous in art and culture alike.

Among early modernist non-literary landmarks is the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the Expressionist paintings of Wassily Kandinsky starting in 1903 and culminating with his first abstract painting and the founding of the Expressionist Blue Rider group in Munich in 1911, the rise of fauvism, and the introduction of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque and others between 1900 and 1910.

Since the early 1980s, his oeuvre has built new bridges across the rift between American and European modernist and postmodernist painting, and his art has been wide open to other cultural influences.

Augustus Vincent Tack is widely recognized as an early modernist whose abstractions anticipate the color field painting of the 1960s and the abstractions of other artists including Milton Avery and later, Clyfford Still.