Sentences with phrase «part of realist»

Galerie Emanuel Layr is pleased to present Gaylen Gerber, Park McArthur, Jim Nutt, an exhibition that brings together the work of these three artists, each part of the realist tradition in the visual arts, in an immersive installation with each artist's work representing a lucid and independent understanding of that tradition.

The vibration of the artist's heart and his unique skills are the most valuable and exciting part of realist painting,» says Leonid Gervits.

Not exact matches

But the metaphysical reason for the possibility of similarity and difference, according to the Platonic realist, consists in the fact that value can be ingredient with multiplicity in different parts of a process only by virtue of different structures or patterns.

It is evident that at least part of the meaning of one of Whitehead's most important self - descriptions is to be understood in the context of his realist rendering of Bradley's «Julius Caesar»: «Perishing», he says, «is the one key thought around which PR is woven, and in many ways I find myself in complete agreement with Bradley» (ESP 117).

I also have co-written a book with Susan Pease Gadoua, a longtime Marin divorce counselor and author of Contemplating Divorce, called The New I Do: Reshaping Marriage for Skeptics, Realists and Rebels (Seal Press, Sept. 28, 2014) a cutting - edge book that challenges our one - size - fits - all, till - death - do - we - part version of marriage and offers new models that work better for who we are today.

With that background, it's easy to understand why some men might be hesitant to tie the knot in the kind of one - size - fits - all traditional marriage model we've been practicing, which is yet another reason why the marital models in The New I Do: Reshaping Marriage for Skeptics, Realists and Rebels will help brides - and grroms - to - be — and, in this case, especially the grooms — get the marriage they want without vague vows of «until death do us part.»

Realists, in contrast, for the most part believe that there needs to be a fundamental re-focus of attention to the exigencies and practicalities of politics itself.

Reg, for his part, was a realist, with an ironical turn of mind and a dry sense of humor that I loved.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Although often overlooked in contemporary art, Welsh - born realist painter Sylvia Sleigh (1916 — 2010) became an important part of New York's feminist art scene in the 1960s and beyond.

In the photo - realist painting Brave Men Run In My Family (1988), part of the artist's «Dysfuntional Family» series, Ruscha runs the text over the silhouetted image of a great, listing tall ship; the piece was a collaboration with fellow Los Angeles artist Nancy Reese (she did the painting, he the lettering).

Steyerl's video was part of the group exhibition 14.12.13, which confronted the recent trend of speculative realist philosophy and object - oriented ontology (OOO) in contemporary art theory and practice.

Mr. Tillim had 17 solo exhibitions and took part in many more group shows, including «22 Realists» at the Whitney Museum of American Art in 1970 and «Contemporary American Realism Since 1960» at the Pennsylvania Academy of Fine Arts in 1981.

Patron of the artists and socialite Lady Cunard joined the British Committee and Laura Knight, an artist known for her realist, figurative painting, was also part of the selection committee.

In the early 1960s the New Realists took part in a number of exhibitions with American artists including Robert Rauschenberg and Jasper Johns, whose ideas often overlapped with their own.

In this vein, the Tate show, curated by renowned art historians T. J. Clark and Anne Wagner, seek to reposition Lowry as an artist whose urban scenes recast his contemporaries» sense of the modern — in part through their working - class subject matter but also because of their coupling of realist and Impressionist traits.

Cubism, Expressionism, Dada and Surrealism were the most important of these movements, and attracted a number of indigenous American artists, including: the New Jersey Cubist / Expressionist John Marin (1870 - 1953); the vigorous modernist Marsden Hartley (1877 - 1943); the expressionist Russian - American Max Weber (1881 - 1961); the New York - born Bauhaus pioneer Lyonel Feininger (1871 - 1956); the unfortunate Patrick Henry Bruce (1881 - 1937), noted for his semi-abstract impastoed pictures; Stanton Macdonald - Wright (1890 - 1973) and Morgan Russell (1883 - 1953), two Americans living in Paris who invented a colourful abstract style known as Synchromism; Arthur Garfield Dove (1880 - 1946) noted for his small scale abstracts, collages and assemblages; the Mondrian and De Stijl - inspired Burgoyne Diller (1906 - 65); the influential American Cubist Stuart Davis (1894 - 1964); the calligraphic abstract painter Mark Tobey (1890 - 1976); the surrealist Man Ray (1890 - 1976); the Russian - American mixed - media artist Louise Nevelson (1899 - 1988); the Indiana metal sculptor David Smith (1906 - 1965); Joseph Cornell (1903 - 72) noted for his installations; the Iowa - raised Grant Wood (1892 - 1942) noted for his masterpiece American Gothic (1930), and the Missouri - born Thomas Hart Benton (1889 - 1975), both of whom were champions of rural and small - town Regionalism - part of the wider realist idiom of American Scene Painting; and Jacob Lawrence (1917 - 2000) the famous African - American artist.

Like several others, he was part - romantic and part - realist, being animated by the spirit (Romanticism) and also by the appearance (Realism) of the countryside.

I feel the tribalists on the «realist» side are certainly deserving of criticism, but part of the problem is when the criticism is overstated than there's little change of anything other than same ol' same ol' People on both sides reinforce their trenches and increase the bombardment.

A climate realist that assumes the greenhouse effect doesn't exist or CO2 isn't part of it... yeah right.

It is interesting how «skeptics,» some of whom so often complain that part of the problem is that «realist» climate scientists won't engage in debates with «skeptics,» suddenly support Judith's failure (thus far) to engage in detailed debate with Gavin on this topic.

I'm just a realist — and some parts of the world will need (more) nuclear power in their energy mix until something better comes along.