Sentences with phrase «political value of art»

Polke's work reflects his interest in the political value of art, his refusal to adhere to a single visual lanuage, and his passion for alchemic symbolism.

Not exact matches

The historic churches, shrines, monasteries, hospitals, homes and other holdings; the priceless art and libraries, not to mention the intellectual capital and value of political connection and influence of a 200 year old organization that essentially built western civilization.

Art is losing its «purposeful purposelessness» and is becoming a bondservant to «some more general system of social, political, and moral values.»

Along with Anthony Appiah and other current writers about the university, she acknowledges the intrinsic value of study (her most recent book on the topic is titled Not for Profit), while ultimately defending the value of liberal arts as essential for social and political progress.

Art historical, political, and historical references are layered deep in images like that of George W. Bush in The Ghost of Liberty: the 2004 drawing is derived from the artist's charcoal drawings Poor George after Philip Guston, which echoed Guston's Nixonian Poor Richard series from 1971, which in turn drew its title from Ben Franklin.32 More recent codices have addressed the global economic collapse: Illegal Alien's Guide to the Concept of Relative Surplus Value; and Escape from Fantasylandia: An Illegal Alien's Survival Guide [see Art in Print Vol.

Unlike, Robert Hughes who I think has a prejudice for things English, Porter had convictions about the value of art in a political context.From this book you learn that he was a committee communist.

Popova's work negotiates the physical, economical and political articulations of painting today as well as materiality and the value of art objects.

In the midst of the Great Depression, on January 16, 1936, Virginia's political and business leaders bravely demonstrated their faith in the future and their belief in the value of art by opening the Virginia Museum of Fine Arts in Richmond.

In the midst of the Great Depression, on January 16, 1936, Virginia's political and business leaders bravely demonstrated their faith in the future and their belief in the value of art by opening the Virginia Museum of Fine Arts in Richmond on the former site of the Robert E. Lee Camp Confederate Soldiers» Home.

Christie's reports mixed half year results Political unrest, a relative lack of showpiece lots, and a more general art - market slowdown have contributed to a 27 per cent drop in the value of sales reported by Christie's earlier this year, reports The Art Newspapart - market slowdown have contributed to a 27 per cent drop in the value of sales reported by Christie's earlier this year, reports The Art NewspapArt Newspaper.

In a sense the IAE question recalls a similar debate over abstract art at mid-century, hinging on whether abstraction could truly be free of political values.

For this global viewpoint is part of a larger change in thinking, a change that broadened analytic concerns beyond formalism to include in a fundamental way the institutional, social and political circumstances within which art is produced and valued.

In the multi-site exhibition, The Flesh Is Yours, The Bones Are Ours (2016), at the Graham Foundation for Advanced Studies in the Fine Arts and Rhona Hoffman Gallery, Michael Rakowitz illustrates the socio - political value of architecture through the process of building — from the artisan, historian, and citizen perspective.

Landy has used monumental installations / performances to explore political and social issues, such as the nature of consumerism, the commodification of art and the value placed on human beings in the corporate world.

He also examines Judd's commitment to empirical values and his political activism, and concludes by considering the importance of Judd's example for recent art.

Gouk concludes: «There are aspects of modernism which of course challenge this nexus of values, but Manet's art is a permanent reminder that the complex constructions of cerebral compulsiveness, the ploddings of so called «realism,» or indexes of socio - political advance in mores and life - style, however «modernistic» they may consider themselves to be, are likely to be, in spite of themselves less a true reflection of their times than an indictment of it.

Since the early 1990s, Pedro Cabrita Reis has made masterful use of architectural materials including cement, bricks, wood, steel, metal, beams and actual fragments of architecture, which he juxtaposes with elements from the visual arts such as enamels, pigment and neon light to create poetic, imagination - led works of great political value, capable of revealing memories associated with the context in which they are located and from where they come.

The exhibition moves away from the political messages behind the works and claims about the ability of art to deliver political and social change, and instead focuses on the effect political values have had on the processes, aesthetics and display of artworks.

By revisiting the masculine tropes in contemporary art, issues around a product's political currency and social value, as well as the potential impact of how material and colour can effect response resonates within Dray's application of metal finishes, detail and colour.

PILproject (PIL) sets out to delve forward into the political value of its growing memes collection, following from the previous incarnation in 2015, hosted at the Cass Faculty of Art, Architecture and Design.

Conceptual art, while having no intrinsic financial value, can deliver a powerful message, and thus has served as a vehicle for socio - political comment, as well as a broad challenge to the tradition of a «work of art» being a crafted unique object.

PILproject (PIL) sets out to delve into the political value of its growing meme collection following on from the previous incarnation in 2015, hosted at the Cass Faculty of Art, Architecture and Design.

«This was developed in the talks programming — the panel Collapsing Structures discussed the role of art institutions in taking political stands, challenging museum neutrality and saw Laura Raicovich, former Queens Museum exective director, contentiously stating that cultural institutions express values that may not actually be matched by their actions.

Her practice blurs the distinction between art and architecture through works that employ color as a way to draw attention to the political complexities of race, place, and value in cities.

In describing this area of Hiller's work, art historian Dr. Alexandra Kokoli draws attention to its palpable political subtext: «Hiller's work unearths the repressed permeability... of... unstable yet prized constructs, such as rationality and consciousness, aesthetic value and artistic canons.

The main legacy of Mexican muralism to modern art was to reintroduce mural painting back into mainstream 20th century art, especially as an expression of social values, or as a way of advancing a political agenda.

Richter had long been a prominent figure within the international art world, but the exhibition, curated by Robert Storr, was something of a corrective to the voluminous interpretations — and, in Storr's view, misinterpretations — that had long beset the artist's work: He had been aligned with neo-Expressionism, with Fluxus, with postmodernist critiques of the validity and value of painting, and with political agendas of all hues.