Sentences with phrase «periods on the art history»

For the past few weeks I've been working on a freelance writing project, which takes me to unexpected periods on the art history timeline.

Not exact matches

Andrew King drives it and relates its history / Ettore and the taxman — Sandy Skinner has been investigating the Bugatti patron's tax affairs and finding a number of small transgressions / The Gentle Art of Cardening — Gerry Michelmore can see the funny side of cyclecar ownership and expatiates on just a few of his adventures with a 1921 Carden / Together Again After 80 Years — David Burgess-Wise recalls reuniting his lovely 1926 Kelsch - bodied Delage DISS with its original owner's Cirrus Moth aircraft / A Family Photograph Album — John Warburton examines a fascinating motoring album from the inter-war period, featuring a number of rarities / Back on the Road — Ford UK's post-war V8 Pilot is becoming quite rare.

Soul of a Nation: Art in the Age of Black Power shines a bright light on the vital contribution of Black artists to an important period in American history and aArt in the Age of Black Power shines a bright light on the vital contribution of Black artists to an important period in American history and artart.

Exhibitions, Lectures, Presentations & Gallery Tours Beginning with dedicated frame exhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal conferences.

The opening of «Radical Women: Latin American Art, 1960 — 1985» at the Hammer Museum in Los Angeles last September was a revelation: finally, a thoughtful, scholarly exhibition with real popular appeal that focused on a period of cultural history that was almost completely unrecorded in conservative, mainstream surveys.

Åsmund Thorkildsen, curator of that exhibition, gives an introduction to Sherman's artistic practice based on his in - depth knowledge of the Postmodern period in American art history.

On display from 27 October 2016 — 26 February 2017, South Africa: the art of a nation will use art to tell the story of the region's deep history, the colonial period, apartheid, the birth of the «rainbow nation» and South Africa today.

Along with familiar works from the collection, the installation will include objects on loan from other institutions, such as historical Native American art, folk art, furniture, and art from other regions and time periods to encourage a more textured narrative about the first centuries of US art and history.

Perhaps because of the incandescence of the YBAs in the 1990s, British art in the 1980s often gets short thrift in terms of column inches in histories of modern and contemporary art, but — as Ikon's new show on the decade should demonstrate — it was a period of free - wheeling experimentation, in which figurative painting made a comeback, the variety of abstract styles increased, installation art grew in ambition and cut - and - paste appropriation prevailed.

Developed by the Tate Modern in London, Soul of a Nation shines a bright light on the vital contribution of Black artists to an important period in American art and history.

Soul of a Nation: Art in the Age of Black Power, on view from February 3 - April 23, shines a bright light on the vital contribution of Black artists to an important period in American history and aArt in the Age of Black Power, on view from February 3 - April 23, shines a bright light on the vital contribution of Black artists to an important period in American history and artart.

This intimate display complements Art in France, 1598 — 1661, a spring University of Chicago Art History course focused on artistic production in France during a pivotal sixty - year period.

After amassing a formidable archive of their own, they decided to focus the exhibition only on the years 1960 - 1985, a time period that encompasses both a key period in the history of art and a particularly tumultuous era in the political history of many of the countries represented in the show.

Roberta Smith, art critic for The New York Times and a lecturer on contemporary art, described them as «exhilarating, precocious and lyric» and wrote that «Rand's paintings demand a substantial place in the history of an unusually fertile period in American art.»

Featuring six thousand years of art history, the fair presented vibrant juxtapositions of period and genre, attracting a 10 % increase in attendance on Preview Day and record VIP attendance throughout the fair.

Students will dive into a variety of topics built on a theme like a cultural movement, rich period of history, or a particular medium or art - making technique.

Providing new perspective on vital female contributions to art history across mediums, genres, and periods, the exhibition schedule is anchored by major solo exhibitions of work by Laura Owens, Ida O'Keeffe, and Berthe Morisot and showcases a range of significant works by female artists in the Museum's collection.

Even five hundred years after the Renaissance period, which is still considered the highlight of Italian art history, the country's place on the international scene is a very significant one even today.

: Art and Black Los Angeles, 1960 - 1980» explored a robust period in the city's history when a pioneering group of African American artists established an influential creative community and produced important works commenting on the state of culture, politics and identity.

For centuries, the twilight of an artist's life was often looked down on as «a period of decline or stagnation,» says Sam Smiles, professor emeritus of art history at Britain's Plymouth University, and co-editor of the recent book of essays, «Late Style and its Discontents.»

Reflecting current interest in this period of art from India, Abby Grey and Indian Modernism will complement a related exhibition at the Queens Museum of Art, After Midnight: Indian Modernism to Contemporary India 1947/1997 (on view March 1 — June 28, 2015), which highlights two defining moments in Indian history: independence in 1947, and the nation's 50 - year anniversaart from India, Abby Grey and Indian Modernism will complement a related exhibition at the Queens Museum of Art, After Midnight: Indian Modernism to Contemporary India 1947/1997 (on view March 1 — June 28, 2015), which highlights two defining moments in Indian history: independence in 1947, and the nation's 50 - year anniversaArt, After Midnight: Indian Modernism to Contemporary India 1947/1997 (on view March 1 — June 28, 2015), which highlights two defining moments in Indian history: independence in 1947, and the nation's 50 - year anniversary.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

This first monograph on Tsuyoshi Maekawa (born 1936), one of the last surviving members of the Gutai art group, includes archival images and documents of the Gutai period from the Ashiya City Museum of Art and History, and a previously unpublished interview with Maekawa conducted by Gutai expert Koichi Kawasaart group, includes archival images and documents of the Gutai period from the Ashiya City Museum of Art and History, and a previously unpublished interview with Maekawa conducted by Gutai expert Koichi KawasaArt and History, and a previously unpublished interview with Maekawa conducted by Gutai expert Koichi Kawasaki.

Before Projection was organized by Director of Exhibitions and Curator Henriette Huldisch, who notes the importance of this predominately underrecognized period in art history, and aims to highlight its impact on contemporary art.

This exhibition brings together historical ephemera from this dark period in U.S. history, as well as works of art and performance that reflect on the issue of internment.

By focusing on the 1940s, the group of works on view illuminates the aesthetic investigations that preoccupied the artists who would change the course of art history in the period just before Abstract Expressionism came to its full fruition.

As part of the 20th Century season at Christie's, our Post-War and Contemporary Art auctions take place on 11 and 12 February, featuring some of the leading masters of this explosive period in the history of aArt auctions take place on 11 and 12 February, featuring some of the leading masters of this explosive period in the history of artart.

Flat Statues, re-worked photographs of statuary from different geographies and periods, evoke the feeling that art history has folded in on itself.

Entering into a close dialogue with the premise itself and its rich history, the works relate to the unique architecture and period furnishings of the palazzo, touching as well on the important collection of art and archeology it houses.

A lecturer on visual and environmental studies at Harvard with a Yale MFA under her belt, Burin has won a following among art savants — together with gallery and museum shows and art prizes — for her sculptural installations blending elements of Soviet - era architecture and design with revisionist - history narratives that bring women (both real and fictional) from that period to the fore.

Drawing on Naples» rich art history, Walker looks to the culturally active period following the Irpinia earthquake of 1980, when Lucio Amelio (1931 - 1994) brought many international contemporary artists to Naples, who, in turn, became in awe of its creative charge.

Fred Gross is a professor of art history at the Savannah College of Art and Design, where his focus is on the art and photography of the contemporary periart history at the Savannah College of Art and Design, where his focus is on the art and photography of the contemporary periArt and Design, where his focus is on the art and photography of the contemporary periart and photography of the contemporary period.

Rather than selecting pieces according to style, materials and historic - artistic periods, MOCA prefers focusing its attention on conceptually and methodologically interrelated pieces, which reflect key moments in the history of art.

Work by artists who were at the forefront of Impressionism and the period that followed, such as Picasso, Cézanne and Renoir, will be on show in Paris, as well as works of Abstract Expressionism by the likes of Jackson Pollock, whilst also drawing attention to links between the art and the collectors with a look at Japan's modern history.

16 Aug 2006 American Underground Film Season at IMMA A season of rarely - seen films from a defining period in the history of American underground cinema opens at the Irish Museum of Modern Art on Friday 15 September 2006.