It began with the WPA during the Great Depression, which brought many artists together,
producing radical artists» magazines such as Art Front; and it resulted in the Eighth Street Club, which was an informal forum that established visual artists as members of the intelligentsia.
Not exact matches
He says that Catholic
artists are no longer
producing life - giving images of God, that Church people are themselves admitting that even in their rare moments of prayer they can not evoke the image of God nor call on his name (because these are inextricably linked with transcendence) and that many of the Church's own
radical prophets and seers have witnessed to the death of God and to the fact that we can speak of God only when we speak of Christ.
We like to believe that great
artists follow their muse, not the crowd — but far more
radical and original work is
produced when they listen and collaborate
Produced in a basement flat in London's Notting Hill Gate by three editors, Richard Neville, Jim Anderson and Felix Dennis, the magazine was renowned for its psychedelic covers by pop
artist Martin Sharp, cartoons by Robert Crumb,
radical feminist thought by Germaine Greer and provocative articles that called into question established norms of the period.
The
artists in this exhibition
produce works that explore the multi-faceted characteristics of the word «hood» in some fashion: a slang term for a Black neighborhood; a suffix in cultural theory concepts like «objecthood,» «personhood,» «negrohood;» and Trayvon Martin's hoodie, which, along with his being an objectified young Black male, served as a signifier in an act of
radical injustice.
Leaving to one side ideas of nationality and regionalism, this exhibition focuses on London as a place of freedom and experimentation that enabled
artists to
produce radical works that engaged with issues of participation and collaboration, established new relationships with the public space and fostered art as an effective political tool.
★ Rubin Museum of Art: «
Radical Terrain» (through April 29) The third and last of three beautifully
produced, back - to - back mini-surveys in the series Modernist Art From India, this exhibition combines landscape painting done in India in the years following independence in 1947 with recent work by young
artists — some South Asian, most not — that corresponds to or comments on the older art.
Obviously, the answer is different for each
artist and each context, but one can usefully ask whether the intervention represents an homage, or a critique of the context; whether the contemporary work points to continuities of concern or
radical disjunctures, that in turn
produce new understandings of both the historical and the contemporary.
Titled Television or the Cat's Cradle Supports Electronic Picture (1988 - 89), the painting is no less
radical today than it was when the
artist produced it more than two decades ago.
The Helen Frankenthaler exhibition at Gagosian Paris explores a
radical, lesser - known body of work the
artist has
produced in the end of 1950s.
With a curatorial focus this year on collaboration, BAS8 has provided Phillips with an opportunity to run community print workshops and create a publication based on the Irregular Bulletin, a newsletter
produced in the late 50s / early 60s by
radical educator and
artist Corita Kent and her colleague, Sister Magdalene Mary.