Sentences with phrase «postwar avant»

In the 1970s he exhibited with Michael Werner and Thomas Borgmann in Cologne, Toni Gerber in Bern and Konrad Fischer in Düsseldorf (Fischer had been an equally important member of capitalist realism who eventually gave up painting under the name Konrad Lueg and was to become the most important dealer in postwar avant - garde in Europe).

Indeed, it's possible America wouldn't have had a postwar avant - garde if it hadn't been for Franklin D. Roosevelt's job creation plan, the Works Progress Administration (WPA).

In 2011, five American art collectors were traveling across Japan in search of artists associated with a postwar avant - garde movement known as Gutai.

Piero Gilardi (born 1942) looms large in the annals of the European postwar avant - garde.

«There isn't any one US museum that is addressing European postwar avant - garde art movements, and yet those are totally essential for us to understand what is happening in contemporary European art.»

The catalogue aims to re-evaluate the legacies of abstract expressionism, Art Informel, and Japan's postwar avant - garde from a fresh perspective and presents timely contributions to the field from emerging scholars from the U.S. and Japan.

His dynamic brushwork refers to the development of the postwar avant - garde — particularly action painting, such as the work of Franz Kline — and the rise of such Neo-Dada artists as Robert Rauschenberg and Jasper Johns, who dominated the art world in the decades following World War II.

Opening: «Asger Jorn: The Open Hide» at Petzel Gallery One of the founding members of COBRA — a postwar avant - garde movement consisting of abstract artists from Copenhagen, Brussels and Amsterdam — Asger Jorn is famous for the spontaneous use of color and form in his experimental paintings, drawings and sculptures, made from the mid-1930s through the time of his death in 1973.

These exhibitions continue a new - millennium interest in examining the international nature of the postwar avant - garde, something art history has treated as a primarily Western phenomenon.

The central figure of the movement was curator and critic, Celant, who fervently supported postwar avant - garde art with a desire to internationalize the art of Europe, and particularly Italy.

Her areas of research and teaching interest span the modern Americas, with an emphasis on the art of twentieth - century Cuba and Puerto Rico, the transnational history of abstraction, and the postwar avant - garde.

Once again, as with the postwar avant - garde in Tokyo, does East genuinely meet West?

Born in Asheville, N.C., Noland served in World War II before enrolling at the Black Mountain College, the alternative school that proved a formative experience for many members of the American postwar avant - garde, including Merce Cunningham, Robert Rauschenberg, and John Cage.

On view at New York University's Grey Art Gallery from September 8 to December 10, 2016, the show illuminates how Charlotte Moorman (1933 — 1991) metamorphosed from a classically trained cellist into a barrier - breaking figure in performance art and an impresario of the postwar avant - garde.

Next to this core engagement for female artists, BROADWAY 1602 also represents other cultural agents and outstanding personalities of the New York postwar avant - garde, such as The Archive of Experiments in Art and Technology (E.A.T.), David Tudor & Composers Inside Electronics (CIE), and collaborations with the The George and Helen Segal Foundation, Robert Whitman and the Robert Anton collection.

«Tokyo, 1955 — 1970: A New Avant - Garde» and «Gutai: Splendid Playground» find a quarter center of postwar avant - gardes, in individuals, collectives, and movements.

Enrico Castellani (1930 — 2017) was a catalytic figure in the European postwar avant - garde, co-founding the experimental journal, Azimuth, and the Galleria Azimut with Piero Manzoni.

One of only two women initially involved with the «Club,» an association of New York School artists and writers, she exhibited in numerous significant early exhibitions of New York's postwar avant - garde, including the groundbreaking «9th Street Art Exhibition» in 1951.

Oiticica, who entered Brazil's art scene in the late - 1950s and the early 60s, became one of the most visible representatives of the country's postwar avant garde.

When Allan Kaprow wrote these words in 1961, he was describing the tendency among the postwar avant - garde to physically and intellectually invite the audience into the art itself.

Not exact matches

Exemplary of the critical practices in postwar, avant - garde Conceptual, Fluxus, Mail Art and Performance Art, the works in this collection include those by Lawrence Wiener, Seth Siegelaub, Chris Burden, Sol Lewitt, Robert Barry, Douglas Huebler, Ulises Carrion, Michael Snow, Laurie Anderson, Yoko Ono, Iain Baxter and Ken Lum.

Tsuyoshi Maekawa (b. 1936) was a member of the Gutai Art Association, Japan's most significant avant - garde collective of the postwar era, founded in 1954.

His use of welded iron reflects the age of mechanised industry, while also echoing the damaged landscapes of postwar Italy and the atmosphere of existential angst that hung over much of the European avant - garde during this period.

As well as recording Fontana's personal friendship with Rotraut Klein, the inscription bears witness to a key artistic exchange at the heart of the postwar European avant - garde.

It brings together leading avant - garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as François Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus - inspired artist - musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical / experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso.

THE AVANT - GARDE WO N'T GIVE UP: COBRA AND ITS LEGACY Blum & Poe is pleased to present The Avant - Garde Won't Give Up: Cobra and Its Legacy, a two - part exhibition taking place in New York and Los Angeles which will offer a broad and critical reassessment of Cobra — an essential postwar European movement named for the home cities Copenhagen, Brussels, and AmsteAVANT - GARDE WO N'T GIVE UP: COBRA AND ITS LEGACY Blum & Poe is pleased to present The Avant - Garde Won't Give Up: Cobra and Its Legacy, a two - part exhibition taking place in New York and Los Angeles which will offer a broad and critical reassessment of Cobra — an essential postwar European movement named for the home cities Copenhagen, Brussels, and AmsteAvant - Garde Won't Give Up: Cobra and Its Legacy, a two - part exhibition taking place in New York and Los Angeles which will offer a broad and critical reassessment of Cobra — an essential postwar European movement named for the home cities Copenhagen, Brussels, and Amsterdam.

Leonhard Lapin, one of the most important avant - garde artists of the postwar generation, first emerged on the...

The thing is, she vibes as well with them as she does with newer «it» artists like Oliver Osborne, and this affordable piece — produced in conjunction with London's avant - garde Zabludowicz Collection — displays both her continuity with the postwar artists and contemporaneity at once.

The San Francisco Art Institute (SFAI) is proud to present the first West Coast survey exhibition of Gutai (1954 — 1972), a significant avant - garde artist collective in postwar Japan whose overriding directive was: «Do something no one's ever done before.»

The San Francisco Art Institute (SFAI) announce the first West Coast survey exhibition of Gutai (1954 - 1972)-- a significant avant - garde artist collective in postwar Japan whose overriding directive was: «Do something no one's ever done before.»

Fabio Mauri (1926 - 2009, Italy) was an artist, playwright and writer, and one of the essential members of the postwar Italian avant - garde.

Curated by Sarah J. Montross, Andrew W. Mellon Post-Doctoral Curatorial Fellow at the BCMA, and on view at Bowdoin from March 5 — June 7, 2015, Past Futures broadens the conversation beyond avant - garde art of postwar Europe, the Soviet Union, and the United States by shining new light on artworks created by Latin American artists at this time, and examining the complex relationships between the American continents during this transformative era.

One of great joys of «The Freedom Principle» is that it takes us back to the apex of postwar modernism, when avant - garde music was venturing into uncharted territory and the black - radical tradition in the us was figuring itself through sonic experimentation and its visual analogues.

The avant - garde performance reflected Germany's postwar preoccupation with technology, whilst also underlining the ethos of Walter Gropius and the 1923 Bauhaus exhibition in Weimar, Art and Technology - A New Unity.

The European avant - garde artists after the First World War, the Dadaists, Early Abstract artists, the Surrealists and the artists during the postwar years, continued with the challenging spirit and the progressive ideas of the Cubism.

Gutai: Splendid Playground February 15 — May 8, 2013 Gutai: Splendid Playground is the first North American museum exhibition devoted to Gutai, the most influential artists» collective and artistic movement in postwar Japan and one of the most important international avant - garde movements of the 1950s and 1960s.

The gallery showcases the works of Japan's prewar and postwar generation of photographers including VIVO members such as Eikoh Hosoe, Shomei Tomatsu, and Ikko Narahara; Minoru Hirata whom documented the activities of avant - garde artists of the 1960s, and works by Kiyoji Otsuji from Jikken Kobo (Experimental Workshop).

I had been schooled in Abstract Expressionism as ground zero for the postwar American avant - garde.

Another potential candidate for the best - curated booth, the galley, which specializes in postwar Japanese art, brought together paintings by the Japanese avant - garde Gutai group including artists Toshio Yoshida, Kazuo Shiraga — famous for painting with his feet — and works on paper by Shiraga's wife Fujiko Shiraga.

As a founding member of the Gutai movement, one of the most important artist collectives in postwar Japan, alongside his mentor Jiro Yoshihara, Shozo Shimamoto emerged as a key figure in the Japanese avant - garde by the mid-1950s.

NSU Art Museum's Regeneration Series is inspired by its renowned collection of Cobra art of postwar, avant - garde artists from Copenhagen, Brussels and Amsterdam and its growing role as a leading scholarly resource for the exhibition and research of art of this period.

The IVAM collection presents an overview of the avant - garde art of the first decades of the 20th century and all art tendencies of the postwar period.

Tsuyoshi Maekawa was a Japanese artist, a member of the Gutai Art Association, Japan's most significant avant - garde collective of the postwar era.

Although Black Mountain College, the legendary postwar incubator for the avant - garde, launched the careers of many twentieth - century luminaries who would eventually enjoy international renown, the sculptor Ruth Asawa (1926 - 2013) never quite became a household name — instead, her oeuvre has so habitually been relegated to the household.

The exhibition encompassed an incisive retrospective component, tracing avant - garde genealogies from Suprematism, Constructivism, Futurism and the ready - made to postwar movements including Gutai, Arte Povera, Op, Concrete and kinetic art.

Recognized as one of the masters of the international midcentury avant - garde, Fontana, who was actually born in Argentina, is considered a father of postwar monochromatic abstraction and Conceptual art.

Blum & Poe is pleased to present The Avant - Garde Won't Give Up: Cobra and Its Legacy, the second installment of a two - part exhibition which began in New York and now opens in Los Angeles, offering a broad and critical reassessment of Cobra — an essential postwar European movement named for the home cities Copenhagen, Brussels, and Amsterdam.

Between Action and the Unknown: The Art of Kazuo Shiraga and Sadamasa Motonaga will examine the full arcs of the artists» careers, from their early works to their 18 - year engagement with the Gutai Art Association — the leading avant - garde group of postwar Japanese artists — to their later masterworks created in the 1980s, 90s, and early 2000s.

With extensive personal and professional connections and a commitment to pursuing avant - garde art, Vicente was centrally located in New York's burgeoning postwar art scene.

A giant of 20th century American art who occupied the area between abstract art and representationalism, the Dutch - born artist Willem de Kooning was the most consistent and longest - living contributor to the postwar Abstract Expressionism movement, and an iconic figure in avant - garde art.