Sentences with phrase «practice of the art historian»

-- Hans Ulrich Obrist Midnight: The Tempest Essays returns the question of pragmatism to the everyday critical practice of the art historian.

Not exact matches

Of course, the influence of religious ideas, practices, and institutions upon society had always intrigued the historians, but it could be assessed better from the time that the organizations of society, to use Dilthey's terminology, were more clearly distinguished from the systems of cultural objectification (law, art, scienceOf course, the influence of religious ideas, practices, and institutions upon society had always intrigued the historians, but it could be assessed better from the time that the organizations of society, to use Dilthey's terminology, were more clearly distinguished from the systems of cultural objectification (law, art, scienceof religious ideas, practices, and institutions upon society had always intrigued the historians, but it could be assessed better from the time that the organizations of society, to use Dilthey's terminology, were more clearly distinguished from the systems of cultural objectification (law, art, scienceof society, to use Dilthey's terminology, were more clearly distinguished from the systems of cultural objectification (law, art, scienceof cultural objectification (law, art, science).

Limbaugh could have stanched the bleeding by practicing what historian Susan Wise Bauer has described as «the art of the public grovel.»

The 20 essays and book reviews that comprise Words For Art assess the practices and precepts of a wide range of artists, critics, and historians — from E. H. Gombrich's theory of perception and Walter Benjamin» views on color to the conceptual underpinnings of Mel Bochner's word paintings and the complications of Jack Tworkov's belief in the need for ethics in aArt assess the practices and precepts of a wide range of artists, critics, and historians — from E. H. Gombrich's theory of perception and Walter Benjamin» views on color to the conceptual underpinnings of Mel Bochner's word paintings and the complications of Jack Tworkov's belief in the need for ethics in artart.

An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses's mutational practice.

On March 16 and 17, Using the Self to Imagine the World places a spotlight on the life and practice of Ree Morton, with participants including Tang Museum Director Ian Berry; artist Nayland Blake; art historian Sabine Folie; Alexander and Bonin Gallery Director Kathryn Gile; Founder and Principal of Art Agency, Partners, and Chairman of Sotheby's Fine Art Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid Sacart historian Sabine Folie; Alexander and Bonin Gallery Director Kathryn Gile; Founder and Principal of Art Agency, Partners, and Chairman of Sotheby's Fine Art Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid SacArt Agency, Partners, and Chairman of Sotheby's Fine Art Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid SacArt Division Allan Schwartzman; and Director of Exhibitions at the University of the Arts, Philadelphia Sid Sachs.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

This series of intensive, single - session courses, led by noted art historians and educators, offers participants an overview of current ideas and practices in contemporary American art.

His approach — aligned with the practices of his Californian contemporaries Larry Bell and DeWain Valentine, among others — was described by art historians as the «L.A. finish fetish.»

We have high editorial standards — including a strict conflict of interest policy (below)-- and our team is made up of artists, curators, and art historians who thoughtfully examine contemporary arts and art practices where they overlap with cultural and social issues.

The 160 - page catalogue includes 52 color images and essays by Stéphane Aquin, Curator of Contemporary Art, Musée des Beaux - Arts de Montréal, art historian David Anfam, Robert Lawlor, author of Scared Geometry: Philosophy & Practice, and Alicia G. Longwell, the Parrish Art Museum's Lewis B. and Dorothy Cullman Chief Curator, Art and EducatiArt, Musée des Beaux - Arts de Montréal, art historian David Anfam, Robert Lawlor, author of Scared Geometry: Philosophy & Practice, and Alicia G. Longwell, the Parrish Art Museum's Lewis B. and Dorothy Cullman Chief Curator, Art and Educatiart historian David Anfam, Robert Lawlor, author of Scared Geometry: Philosophy & Practice, and Alicia G. Longwell, the Parrish Art Museum's Lewis B. and Dorothy Cullman Chief Curator, Art and EducatiArt Museum's Lewis B. and Dorothy Cullman Chief Curator, Art and EducatiArt and Education.

«In 1968, appalled by the lack of meaningful arts instruction at the elementary school her children attended, Asawa, together with art historian Sally Woodbridge, created Alvarado Arts Workshop to bring practicing artists into the schoarts instruction at the elementary school her children attended, Asawa, together with art historian Sally Woodbridge, created Alvarado Arts Workshop to bring practicing artists into the schoArts Workshop to bring practicing artists into the schools.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

A series of illuminating conversations with writers, scholars, curators, and historians will explore how Bay Area art has cross-pollinated with music, poetry, performance, film, and activism, placing artistic practice into the broader context of the region's unique social and cultural history.

Founded in 1977 as a radical gesture by art historian and curator Marcia Tucker, the New Museum began as an alternative model of museum practice.

Organized by Rhizome's Artistic Director, Michael Connor, Brushes convenes artists Laura Brothers and Andrej Ujhazy, art historian Alex Bacon, and others to explore digital painting as a practice for screen - based display and online circulation, against the backdrop of a current surge of interest in digital painting for the gallery.

In describing the Happenings, art historian Milly Glimcher writes: This vital series of performances was part of a worldwide reappraisal of art and the role of the artist within accepted art practice.

Join artist Polly Apfelbaum and art historian Faye Hirsch in exploring how the printmaking process sparks a spirit of inquiry and experimentation in the studio, and delve into the intersection between printmaking and painting in contemporary practice.

Conceived by Sylvia Kouvali, art historian living and practicing in Istanbul for the last years, Rodeo will merge the commercial character of a standard gallery with strong curatorial practice.

As part of Chinati Weekend 2014, curator and art historian Robin Clark surveyed Larry Bell «s career and practice in a talk entitled «Glass Labyrinth: Larry Bell's Standing Wall Sculpture for Chinati.»

Art historian Rhea Anastas, media historian Nadja Millner - Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small - scale organizations establish a kind of instant art history, serving museums and culture - at - large as test sites for new artistic practiArt historian Rhea Anastas, media historian Nadja Millner - Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small - scale organizations establish a kind of instant art history, serving museums and culture - at - large as test sites for new artistic practiart history, serving museums and culture - at - large as test sites for new artistic practice.

Villalobos and Ruggiero are both art historians and administrators whose research and projects position programming and civic engagement at the center of their practice.

Bedford: One major consequence of that survey show, which I think we're only beginning to see bear fruit, is roughly as follows: yes, your career has become more extraordinary; yes, the paintings have become even better, as the pavilion will demonstrate; and yes, you've been able to spread your wings in terms of social practice, but you've also forced a wedge into the history of art that has revealed afresh your genuine predecessors: Norman Lewis, Sam Gilliam, Jack Whitten, Melvin Edwards, Alma Thomas — these people have become differently visible as a consequence of the need among museums and art historians to account for where you came from.

Villalobos and Ruggiero both are art historians and administrators whose research and projects position programming and civic engagement at the center of their practice.

It has been curated by Christine Eyene (an international curator and art historian known for her enquiry into contemporary African art, gendered perspectives and non-object based art practices), with Melanie Kidd (Director of Programmes at NAE).

The catalog that accompanies «The Quilts of Gee's Bend» seems to want to have it both ways: to celebrate the Alabama quilters» independent brilliance and to tame it with the sort of typology and analysis that art historians practice.

As part of an expanded artistic practice, Quaytman was from 2005 to 2008 the director of the collectively run gallery in New York known as Orchard — a loosely knit collective of artists, filmmakers, and art historians widely admired for its innovative conceptual framework that sought to «put the diversity of its members» practices into discursive motion.»

As a curator, art historian, and writer, Kate Pollasch's practice interrogates pre-existing notions of history and normativity through queer tactics, network theory, archival studies, and considerations of affect and digital pedagogy.

Curated by Daniela Ferrari, art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 196art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 196Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 1963).

Art historians and critics have often been divided between those who dismiss Turrell's work as a New Age techno - spectacle and those who regard his command of optical sciences and artistic practice as a powerful vehicle for raising questions about constructions of «the real.»

As an art historian Honold is focusing on artistic practice and the application of photography in painting.

Organized by art historian, curator, and critic Helmut Draxler and the artist Andrea Fraser, the exhibition Services: The Conditions and Relations of Service Provision in Contemporary Project Oriented Artistic Practice, opened on January 24, 1994 at the Kunstraum Lüneburg.

Jovana Stokic, Art historian, Curator, MA Curatorial Practice's Deputy Chair, School of Visual Arts (SVA)

An art historian by education and a curator and critic by practice, Kuoni was previously director of exhibitions at Independent Curators International (ICI) and director of the Swiss Institute New York.

«The City of Dreams» has a long and rich history of feminist art practice and exhibition making, including LACMA's watershed attempt at inserting feminist art history into the museum with Women Artists: 1550 — 1950, curated by art historian Linda Nochlin and Ann Sutherland Harris in 1976, or, for example, Judy Chicago and Miriam Schapiro's inspiring installation and performance space Womanhouse (1972).

The Harrisons» art practice is fundamentally and uniquely interdisciplinary; they are historians, diplomats, ecologists, investigators, emissaries and art activists, proposing radical solutions and instigating public discourse, and often producing elaborate documentation of their proposals.

Each term, Bennington offers a program of lectures by visiting arts professionals: artists, curators, historians and critics, selected to showcase the diversity of contemporary art practices.

What the artists of the Modernist Left shared above all was the desire to advance the practice of non-figurative art and to promote that art as a species of realism; that is, a higher form of realism that encompassed the democratic and progressive potential of abstract art to provide an image, as the art historian Martin James put it, of an implicit order of a future society.

Rather than act as the final judge of an artistic practice (as earlier art historians had done), Sandberg preferred to test, directly within the spaces of the museum and through the reactions of its public, the capacity of the work of art to connect with people and its political agency.

Publications include Nihilistic Optimistic, published by Blain Southern London on the occasion of the inaugural exhibition at Hanover Square of the same title October 2012 with an interview by Hans Ulrich Obrist, an essay by Jon Savage and foreword by Gustav Metzger; Turning the Seventh Corner, published by Blain Southern, London, 2011, with texts by David Adjaye and James Putnam which comprehensively documents the conception and realisation of the artists» exhibition at Blain Southern, Berlin, 2011; British Rubbish, an updated survey of the artists» work from 1996 to 2010 with an essay by Jeffrey Deitch, and new texts by Michael Bracewell and Nick Cave, published October 2011 by Rizzoli, New York; Polymorphous Perverse, a documentation of works exhibited at the Freud Museum, London, providing a fascinating insight into Freud's theories and how they relate to art practice with critical essays from the distinguished American art historian Linda Nochlin and James Putnam, published by Other Criteria, London, 2008; and Wasted Youth, a survey of the artists» work from 1996 to 2006 with essays by Jeffrey Deitch and Sir Norman Rosenthal, published by Rizzoli, New York in 2006.

Focusing on his recent portraiture, this volume includes an essay by art historian and curator Jane Livingston that provides an overview of Raysse's practice, as well as three texts by the artist.

One of the most prominent Russian artists Olga Chernysheva, a leading figure in the artistic generation of 1990s Moscow, is joined in conversation by world - renowned art historian and curator Ekaterina Degot to discuss her internationally acclaimed practice.

In the spirit of Black Mountain College, this text is written in a collaborative first person, thinking of Leap Before You Look through the lens of our own experiences as an art historian and practicing artist and educator.

In this series of talks we invite artists and art historians to discuss the history, aesthetics, and contemporary state of the practice of painting.

Accompanying Self's insightful and engaging text is an in - depth interview between Hirst and Hans Ulrich Obrist, Co-Director of London's Serpentine Gallery, and also an essay by art historian andcurator Rudi Fuchs that considers and explores the significance of «For the Love of God» in relation to Hirst's oeuvre: «After all, Damien Hirst's art is concerned with love and fear, with death, malady, physical decay, medical practice and pharmaceutical illusion... The inevitable proximity of death is the most real thing in human life.

Influenced by feminism, psychoanalysis, appropriation, and site - specificity, Fraser's practice has often centered on sociological performance and discursive analysis of various art world positions: the docent, the curator, the visitor, the dealer, the collector, the critic, the art historian, and, as the title of this exhibition suggests, the artist.

Tour leader Astrid Honold is a Berlin based German art historian focusing on artistic practice and the application of photography in painting.

Dedicated to contemporary artists, art historians and critics as well as the myriad ideas that inform their projects, Pastelegram provides an international platform for the examination of artistic and historical practice.»

We ask art historians about the training, methodologies and practices required to write a substantial and informed history of Indonesian art; we foster interaction between art historians and artists in our community through interviews; and we encourage artists to use their studios as laboratories where the present and the past collide, creating alternative, hybrid forms of understanding.

With new scholarship by noted art historian Richard Shiff, in addition to archival material and an interview with the artist by Jochen Poetter, this hardcover provides a focused investigation of one of the key concerns within Judd's practice.