Sentences with phrase «radical art forms»

By the 1930s, European and American Modernism was making slow but steady inroads into Texas through a few well traveled and educated early converts to radical art forms of abstraction.

Not exact matches

It constitutes a radical challenge to classical and humanistic axioms with regard to beauty and art, not in the form of an apologetic diatribe but rather of a masterly study in comparative literature.

I've also just published a book on learning measurement, Performance - Focused Smile Sheets: A Radical Rethinking of a Dangerous Art Form.

Using a process that recalls radical forms of art that employ detritus and everyday found materials, Jones reveals the social discrimination at play in how value is assigned to different cultures and the objects that represent them.»

McGee, an art - school graduate, felt that street art was the radical form of expression of the day and so, using the tag name «Twist,» he began painting his signature murals, expansive tableaux incorporating elements of cartoon, signage, and graffiti.

Some would argue that painting had its heyday back when making gigantic abstractions was still considered a radical form of art - making.

In the fall of 1931, a radical shift in Calder's artistic career occurred when he created kinetic abstract sculpture and gave form to an entirely new type of art.

Some employ gendered or radical forms of art making for their purposes.

Often cited as the father of contemporary art in the United Arab Emirates, Sharif began making art in the 1970s, but soon departed from his region's dominant art form of calligraphic abstraction and embraced the radical approaches of avant - garde movements such as Fluxism and British Constructivism.

While celebrated for his paintings, Miró strove to «destroy painting» through an art form that transcended the two - dimensional plane and was an early pioneer of construction; a radical approach to making that forever transformed the discipline of sculpture.

There is no need to pre-define their characteristics because these reveal themselves innately.The layering of painterly thought is an art form that attracts artists who start with an idea and accept that it will not be carried out as planned because unforeseen changes — some radical, some subtle — will smuggle themselves into the making.Overall, Kahn's paintings became much more complex.

The exhibition explored in depth the relationship of radical politics to art, by providing visitors with factual context in the form of historical objects that brought home the social and historical realities the movement faced, interspersed with historic artwork that supported and reflected its circumstances and ideals, as well as contemporary pieces.

She teaches art history and criticism at the School of the Art Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foart history and criticism at the School of the Art Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foArt Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foart form.

Your Dear Editor, Please don't call me a --(2003) and To the Editor of Art in America (2001) are brilliant uses of the open letter as a radical conceptual form.

Fiber and Line: Reclaiming the historical coding of textiles as «women's work», the artists featured in this section created radical woven forms that upend traditional boundaries between art and craft.

On the one side there is the radical, avant - garde figure dedicated to the creation of new forms of art; on the other suffering, death, and disaster.

Höller's art takes the form of proposals for radical, new ways of living by creating sculptures and diagrams for visionary architecture as well as transportation alternatives, such as his renowned slide installations.

After a prologue including other examples of radical, monochrome paintings by Ellsworth Kelly, Frank Stella, and Ad Reinhardt, Singular Forms explores how these parallel artistic strategies were manifest in Minimalist and Conceptual art of the 1960s and 70s through the work of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes Martin, and Lawrence Weiner, among others.

Even after a century of abstract art nothing seems quite so radical as this dazzlingly simple form — more parallelogram than square — leaping into scarlet life out of pure white space, tilting eagerly forwards.

The selection of works range from Frida Kahlo's confident self - representation to Gerhard Richter's blurred likeness; from Paul Cézanne's iconic tabletop arrangements to Jeff Koons» commodified objects; from Vincent van Gogh's roiling olive trees to Richard Long's land art, each demonstrating how modernism's radical new forms have continuously revitalized art history's conventional subjects.

But, unlike in the 1960s and»70s, the sort of art on offer in today's jazz clubs and galleries seems largely removed from radical activism, at best providing ancillary support in the form of documentary, archival research or sloganeering.

Whitechapel Gallery, London, 15 January — 6 April 2015 The RA's show of South American abstract art, «Radical Geometry», examined how geometric abstraction travelled diagonally across the Atlantic from Europe, taking compelling new forms inspired by local political and social circumstances.

While previous exhibitions and prevailing scholarship have primarily focused on the dominance of Pop activity in New York and London during this time, this exhibition examines work from artists across the globe who were confronting many of the same radical developments, laying the foundation for the emergence of an art form that embraced figuration, media strategies, and mechanical processes with a new spirit of urgency and / or exuberance.

However, within Radical Women's redefined conceptual axes their works exist outside a framework for approaching Latin American conceptualism made popular in recent decades: ``... heroic, political, and even militant, leaving little space for those forms of conceptualism and experimental art that embrace more subjective interjections and both broad and intimate personal and political struggles.»

The work featured in the exhibition was consistent with Butler's gallery program in its radical break with previous forms of art - making.

On the reverse of the card, «The Blk Art Group was formed in the early 1980s by a radical group of young black artists including Eddie Chambers, Keith Piper, Donald Rodney and Marlene Smith.

The exhibition demonstrates the significant changes in artistic practice that coincided with the burgeoning number of art schools and university art departments, nonprofit art spaces, alternative galleries and artist - run spaces and publications that not only provided exhibition opportunities but, in the relative absence of commercial support, also created a community that fostered an exchange of radical forms and ideas.

2009 Lisson Presents 6, Lisson Gallery, London, UK Forms of Enquiry, Architects Association, London, UK British Subjects: Identity and Self - Fashioning, Neuberger Museum, Westchester County, New York, US Where water comes together with other water, Chapter 3, gb Agency, Paris, FR 7 Words, Am Nuden Da Session, London, UK Double Bind, Villa Arson, Nice, FR Space as Medium, Miami Art Museum, Miami, US Can Art Save Us, Millennium Galleries, Sheffield, UK Mille e Tre, Musée du Louvre, Paris, FR The Store, Artissima, IT Radical Autonomy, Le Grand Café, Saint Nazaire, FR TV, Mercer Union, Mercer Union, Toronto, US The Storyteller, Salina Art Centre, Kansas.

A radical pioneer of conceptual and installation art, Kosuth initiated appropriation strategies, language - based works and the use of neon as a medium — considering it a form of «public writing» without fine art associations — in the 1960s.

«With its distinctive exchange of radical forms and ideas situated at the intersection of performance, music and the visual arts, UC Davis was the intellectual progenitor and experimental catalyst of some of the most important art and artists to emerge from the West Coast,» Teagle says.

Matisse with color, Picasso with form and line — the best modern art is radically fundamental before it is ever fundamentally radical, a distilled purification of art's first principles.

The notion of walking as a form of sculpture was considered a radical idea when the artist, at age 22, made a work, titled A Line Made by Walking (1967) and gave new meaning to an activity as old as man himself, states Nicholas Serota, director of Tate Britain in London: «nothing in the history of art quite prepared us for the originality of his actions.»

In a January 2014 article Catherine Craft reassessed a 1970 Whitney Museum exhibition by African American artist Melvin Edwards asserting, «A reconsideration of Edward's exhibition reveals its seminal place in art of the period as both an incisive response to the most radical forms of sculpture and installation and as an uncommonly nuanced articulation of social and political issues.»

The 1980s were a groundbreaking decade for contemporary art in the United Arab Emirates, a radical moment when artists in the UAE explored experimental new formats, formed art collectives and founded journals.

Sturtevant, whose repetitions of now - iconic Pop and Minimal artworks in the 1960s anticipated the rise of appropriation art more than a decade later and formed the core of one of the most radical and beguiling artistic practices of the past 50 years, has died in Paris.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

In the 1960s Buren developed a radical form of conceptual art, a «degree zero of painting», creating works which draw attention to the relationship between art and context.

As art historian Noit Banai has noted, «In this extraordinarily precarious and plural historical moment, between the war's end and the advent of Socialist Realism as official cultural policy, Andrzej Wróblewski developed a language of radical corporality in which a subject's vulnerability to divergent relations of power was given tactile form.»

In a January 2014 article Catherine Craft reassessed a 1970 Whitney Museum exhibition by African American artist Melvin Edwards asserting, «A reconsideration of Edward's exhibition reveals its seminal place in art of the period as both an incisive response to the most radical forms of sculpture and installation -LSB-...]

This was also so in the then Soviet Union, where film as a revolutionary art form made space for a new and radical graphic design practice in order to advertise silent films across the region.

Fortunately, your art gallery catalogue tells you that Andre took his radical decision to make art flat on the floor in 1965, when canoeing on a lake in New Hampshire, and that this majestic pile of bricks exemplifies his artistic creed that «form = structure = place.»

Kawakubo's radical reshuffling of clothing's function, purpose, and form is the work of an artist, as the Metropolitan Museum of Art Costume Institute exhibition, Art of the In - Between, demonstrates.

His art has addressed the radical effect of technology on popular culture and art, and given form to the transition from analog to digital culture, powerfully influencing younger generations of artists.

Like many of his radical 1960's contemporaries, Douglas Huebler's conceptual art practice celebrated the dematerialization of form in favor of ideas and concepts.

This iteration of the Whitney Biennial promises the «breakdown of boundaries between art forms» in its radical agglomeration of artists working in disparate fields, not only in visual art, but in music, performance, dance, and film.

Mondrian's injunction, «We must destroy the particular form,» provided the most radical modern liberation from naturalism and was a step on the path to an art which, as he put it, would «reveal, as far as possible, the universal aspect of life.»

«Pittura Oggetto,» an exquisite group exhibition curated by Natacha Carron, brings together these heirs of Lucio Fontana, who worked against the grain of American Abstract Expressionism and European Art Informel to devise a radical new form of painting.