Sentences with phrase «question about art history»
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Ai Weiwei's art posed challenging and urgent questions about human rights and freedom of expression — and responded to the potent and layered history of Alcatraz as a place of detainment and protest.
Francis, PhD, teaches US art history and researches critical questions about minority identities and identifications represented in historical and contemporary visual cultures in the Americas and Europe.
Together in «From the Margins,» they also raise serious questions about an art movement, its roots, and who its histories so often leave behind.
Carmen Tisch's recent urination on a Clyfford Still painting brings up questions about the history of vandalism in art.
Recapturing the Scenic Wilds investigates natural history as a framing device in contemporary art, raising questions about the capture, collection and display of nature.
Guez's work raises questions about contemporary art's role in narrating unwritten histories, and re-contextualizing visual and written documents.
Using ceramic practices as a cue, the group exhibition explores ideas about the division between fine art and craft initiated in the 19th century, and the position of decorative arts within 20th century art history calling into question the relationship between contemporary aesthetics and social life.
«Contemporary life is dominated by competing information and fluctuating histories — a reality that raises important questions about the trajectory of contemporary art, as well as the conditions in which it is made,» said Hoor Al Qasimi, President and Director of Sharjah Art Foundatiart, as well as the conditions in which it is made,» said Hoor Al Qasimi, President and Director of Sharjah Art FoundatiArt Foundation.
Discover the artists» unexpected friendship and explore how our exhibition opens up far - reaching questions about the nature of modern art and its histories.
Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.
Migrations examines how British art has been informed by a long and intricate history of the movement of people to and from the country, raising questions about the formation of a national collection of British art against a continually shifting demographic.
Other Primary Structures raises a number of questions for debate: Does this kind of revisionist, curatorial exercise influence how we think about art history — and if so, in what ways beyond the fact that we ought to look beyond the so - called mainstreams?
The questions of assumptions about male heroes and female heroines, about the issues of identity politics and gender studies, coinciding with deconstructivist views of art history and more, are tackled in Kass's wide repertoire of silkscreened and painted imagery.
Their works fuse traditional cultural knowledge with contemporary art forms, pose urgent political questions, and push the boundaries of how we think about art, history and culture more broadly.
Reclaiming artifacts and iconographies to critique the museum and speak about Black cultural history and identity, he bridges the gap between «high art» and «the street» to question connotations of race and class.
Playing with surprise, entertainment, doubt and worry, Fischer questions himself over the course of the exhibition about the history of art, about sculpture, about our relationship with our bodies, about the concept of time and the status of the object.
Working across multiple modalities of representation allows the artist to fulfil her own representational needs and to ask timely questions about the power dynamics underpinning image production and art history: who does the representing, who is represented and in what manner?
It materializes a question about the often unspoken links between curatorial ideas or aspirations and the discourse of art history, indirectly inquiring into a historicization of the present, with the exhibition as instrument.
«Contemporary life is dominated by competing information and fluctuating histories — a reality that raises important questions about the trajectory of contemporary art, as well as the conditions in which it is made,» said Hoor Al Qasimi, Sharjah Art Foundation's president and directart, as well as the conditions in which it is made,» said Hoor Al Qasimi, Sharjah Art Foundation's president and directArt Foundation's president and director.
«Contemporary life is dominated by competing information and fluctuating histories — a reality that raises important questions about the trajectory of contemporary art, as well as the conditions in which it is made,» said Hoor Al Qasimi, Director of Sharjah Art Foundatiart, as well as the conditions in which it is made,» said Hoor Al Qasimi, Director of Sharjah Art FoundatiArt Foundation.
This leaves a serious question — one that was pushed aside as art history embraced the vision of artistic genius over patronage: Can a portrait be primarily about the sitter and not the painter whose eyes it's filtered through?
Her newly commissioned work, The Story of Art 2003, situated in the History / Memory / Society displays at Tate Modern, extends her interest in the systems by which we collectively perceive, store and access bodies of knowledge, whilst raising specific questions about the museum?s status as a source of knowledge.
It was a question that had plagued me ever since my first encounter with Nicole Eisenman's paintings, prints, and sculptures.1 Eisenman's investment in art history, when combined with her penchant for absurdity and subversion, seemed to upend everything I knew about contemporary art.
«Figuring History poses crucial questions about artistic, social, and political narratives,» says Catharina Manchanda, SAM's Jon & Mary Shirley Curator of Modern & Contemporary Art.
Her work engages the history of nonobjective art — from Constructivism to Futurism — posing contemporary questions about the relationship between utopian impulses and abstraction.
, found the term all over recent books of natural history, art and poetry, and on a death - metal album, and concluded his study of what the word might mean for Marxist political economists with an attempt to project it into the eagerly awaited post-capitalist future: «In the political sense of the term, then, the question about the Anthropocene isn't when it began but whether it ever will, and if so, where first.