Sentences with phrase «particular works of art in»

A new series of occasional conversations at the Menil Collection, A Common Language invites artists from different disciplines to focus on and consider particular works of art in the collection.

Not exact matches

And yet this correct suspicion clashes with another basic intuition: the greatest works of art and all the major religions are in fact highly particular in both origin and expression.

«If there occurs in the work of art a disclosure of a particular being, disclosing what and how it is, then there is here an occurring, a happening of truth at work.»

Nature is a «work of art» in which «rightness» is defined by the comprehension of particular details that constitute it as a work of art.

I believe a reading of Adventures of Ideas and the other works would justify saying there can be «no living [art, morality, religion and science] unless there is a widespread instinctive conviction in the existence of an Order of Things, and, in particular, of an Order of Nature» (SMW 5).

In the opinion of the Times» photography editor, the curator of a university museum «came closest to the truth when she told the prosecutor..., «It's the tension between the physical beauty of the photograph and the brutal nature of what's going on in it that gives it the particular quality that this work of art haIn the opinion of the Times» photography editor, the curator of a university museum «came closest to the truth when she told the prosecutor..., «It's the tension between the physical beauty of the photograph and the brutal nature of what's going on in it that gives it the particular quality that this work of art hain it that gives it the particular quality that this work of art has.

Her art work is primarily focused on human rights themes and in particular the human rights of women and the need for bodily autonomy.

That may well be the case, but, to these eyes, The Tree of Life remains an open, porous, searching work, unmistakably rooted in the tradition of religious art, and yet unbound by any one particular dogma.

The Hong Kong brand of wire - enhanced martial arts (a major deviation from the TV series, for staunch gun opposer Barrymore nixed the use of any firearms in the film) works especially well in the over-the-top context, and the stars are all game — in particular Diaz, who is given a large share of non-wire fight scenes and more than holds her own.

The girls [studying the International Baccalaureate and the Victorian Certificate of Education] are doing their portfolios for their final pieces of work, and they're looking at how their particular art pieces can be enhanced through using the equipment in the fabrication lab.

Previous work on the impact of philanthropy in education terms these types of status quo investments as «lower leverage» grants, which can include funding for efforts in professional development, unrestricted or general purpose grants to schools, or special - purpose grants to fund a particular program or activity (e.g. arts enrichment).4 The contrasting approach — the «higher leverage» investment — is investment with the potential to exert systemic influence on public education, which can be divided into two broad categories: 5

The second issue studied in this volume is related to the ontology of the work of art: Written or visual artworks are a specific type of objects, containing particular kinds of representation which elicit a par...

I want to switch the tables and make art my primary source of income, and my B.A.G is to help animals, in particular African wildlife through my work.

His paintings are usually about a particular moment — «The work of art — a stop of time», he wrote in a diary — a chance arrangement of things on the breakfast table, with a figure perhaps, or a landscape as he saw it in the light of an instant, and so they are usually painted from a single drawing, or from more than one made in quick succession on the same occasion.

Using a condensed and dramatic form mixing elements of comic book art, Californian underground, and murals with the great European tradition, the large scale religious implementations of the Baroque in particular, Danø works range from the traditional painting to reliefs and singular objects.

Martha Buskirk argues, in The Contingent Object of Contemporary Art (2005), that «the possibility that a work's physical manifestation might be of limited duration, or that it might come and go as needed, has also helped facilitate the multitude of highly particular materials now commonly found in the context of the work of art.&raqArt (2005), that «the possibility that a work's physical manifestation might be of limited duration, or that it might come and go as needed, has also helped facilitate the multitude of highly particular materials now commonly found in the context of the work of art.&raqart.»

Launched in 2014, the Art Icon award, supported by Swarovski, celebrates the work of an artist who has made a profound contribution to a particular medium, influencing their own and subsequent generations of artists.

Though it is difficult to associate a particular style with her work, several concurrent themes can be identified within her oeuvre, such as sexuality, the place of craft and mechanization in art as well as her fascination with ethnographic and scientific studies.

This genre of work reflects, in part, the early Cubist style and the era's preoccupation with the psychological symbolism of African art, masks in particular.

In particular, works from some 90 French and overseas artists, mainly from the young generation are on show, forming a rich and diversified panorama of art today.

Indeed, the social histories and identity politics explored in work made during the Civil Rights, Black Power, and Black Arts Movements is being investigated by a new generation of scholars and curators, bringing attention to overlooked artists central to the era, AfriCOBRA artists in particular.

Also drawn to the public and participatory nature of Christo's work, in particular Running Fence, and by Andy Warhol's unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.

As Philippe de Montebello, then director of New York's Metropolitan Museum of Art, put it in 2003, when the museum staged a major retrospective of his work, «Guston's particular genius was in mediating seemingly diverse traditions, and, with fluent brushstrokes that speak to the artist's hand and brilliant colour, creating works that vigorously defied conventions.»

With particular strengths in colonial portraiture, the Hudson River School, American Impressionism, and the Ash Can School, also not to mention the important mural series The Arts of Life in America by Thomas Hart Benton, the Museum relies heavily on its permanent collection for exhibitions and programming, yet also displays a significant number of borrowed shows and works by emerging artists.

His experiences lead him to conceive of a project in situ, that he calls «conditional art,» where the work is determined by the particular circumstances of their precise location.

American art, with a particular emphasis on artists working in Louisiana and the South, has long been one of NOMA's key collection strengths.

Jonas, who studied sculpture and art history, was deeply influenced by the work of Trisha Brown, with whom she studied dance, as well as John Cage and Claes Oldenburg, particular in their exploration of non-linear narrative structure and form.

Later she recognised that familiarity with non-European art gave her insight into the work of her contemporaries, and that Chinese art, in particular, had presented her with a key to abstraction.

Tate St Ives presents international modern and contemporary art in the unique cultural context of St Ives, including works from the Tate Collection, in particular works by the artists from the St Ives school.

Followers of Il Lee's art — as well as newcomers to his masterful, nuanced renderings — will find particular satisfaction in his new large format works.

Genzken, who has often dedicated particular art works to specific people, naming sculptures after friends, artists, or people whom she admires, focuses in this exhibition on her own image, thematizing the idea of portraiture and self - portraiture, being at once the artist and the subject.

Teresa's work is inspired by Pop Art, in particular the work of British pop artists such as Peter Blake, as well as familiar objects from her North East upbringing: like the ice cream vans in her»Em peror of Ice Cream Van» series.

There were artists whose work had to be written out of the story of a particular period (the late work of Stuart Davis, for instance) or minimized in importance in order to streamline the pedigree of American art (Edward Hopper).

These works marked his rejection of making figurative art with clear references to the real world, and in particular his move away from the post-WWII Kitchen Sink group of artists who were painting ordinary scenes of everyday life.

One New York gallery in particular, Untitled Space, is currently inviting multidisciplinary women artists to submit work to an upcoming exhibition titled «Angry Women,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feminist art.

The Ackland Art Museum is well known for its extensive collection of works on paper and in particular, its outstanding collection of drawings, making it a natural venue in which to explore this less - known but highly significant portion of Dial's oeuvre.

This is not to diminish the importance of Schapiro's work from this period, but rather to place her in the competitive field of a particular moment in history, and also in the art world culture in which she operated and established a strong and successful presence.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Werksatz exemplifies the type of art for which Walther is best known: wall - hung or floor - bound cloth works that are meant to be activated in particular ways by visitors, or «users.»

Rappolt said a lot of the YBA works represented art at a particular moment in time.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

Inspired by his memory of living near the river in Shanghai, Nature C was part of Zhang's four Nature works that were first presented in his solo exhibition at the Shanghai Art Museum in 1987, a tumultuous decade for artists in China and pivotal for Zhang in particular.

Created in 1987 in Shanghai, a tumultuous decade for artists in China and pivotal for Zhang in particular, Nature C is one of only four four - panel Nature works that were first presented in his solo exhibition at the Shanghai Art Museum in 1987.

With a particular focus on painting, this exhibition brings together seminal works that provide an overview of the artistic, socio - economic and political concerns of artists in Germany, during a time period when these artists were reconciling with the trauma of war, finding a national identity, struggling for freedom of expression and constantly pushing the limits of modern and contemporary art.

For this special occasion we have selected with Pilar Ordovás a group of works which are all closely related with Chillida's interest in public art and, therefore themes such as scale - in particular the human scale, which is always an important reference in his work, making his sculptures monumental regardless of their size.

In a focused manner, Maunz's work mines the history of classical art, architectural structures abstracted from memory, particular aspects of the artist's past, and family and childhood psychological theory.

In other words, the exhibition does not aim to track a historical development, but to identify precedents for the particular mix of instruction - based art making amongst close acquaintances or intimates that characterizes the more recent art in the show, and the spaces and contexts within which these works are seIn other words, the exhibition does not aim to track a historical development, but to identify precedents for the particular mix of instruction - based art making amongst close acquaintances or intimates that characterizes the more recent art in the show, and the spaces and contexts within which these works are sein the show, and the spaces and contexts within which these works are set.

In one weird, hyphenated word, NOW - ISM insists that the works in it are both of the moment — particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty - first century — and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuitIn one weird, hyphenated word, NOW - ISM insists that the works in it are both of the moment — particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty - first century — and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuitin it are both of the moment — particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty - first century — and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuitin which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty - first century — and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuitin the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuitin perpetuity.

Of Warhol in particular, Craig - Martin said: «Warhol is possibly the most important figure in the fundamental change that occurred in art in the early 60s... [he] changes the whole notion about what a work of art is and how one deals with it.&raquOf Warhol in particular, Craig - Martin said: «Warhol is possibly the most important figure in the fundamental change that occurred in art in the early 60s... [he] changes the whole notion about what a work of art is and how one deals with it.&raquof art is and how one deals with it.»

A specialist in modern and contemporary art she is known for her particular expertise in the work of African, Latino, Native and Asian American artists.