Sentences with phrase «radical art movements»

Their performances have taken place as radical gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.

Their performance has taken place as a gesture calling to mind notorious artists of earlier radical art movements but the historical, linguistic and political context of their practice is often related specifically to their origins: China.

One of the founders of the radical art movement Viennese Actionism in the 1960s, Hermann Nitsch i...

There are aspects of the radical art movement that could be associated with the Action Painting of 1950s New York; however, the aesthetics of Gutai evolved independently as an outcome of postwar Japan.

ABOUT ROBERT MOTHERWELL Robert Motherwell (1915 - 1991) was a central figure in the development of Abstract Expressionism, a radical art movement originating in New York in the 1940s.

The gallery presents work by members of Arte Povera, or «Poor Art» — a radical art movement that emerged in Italy in the 1960s.

Not exact matches

Their timeless art samples past styles and movements, producing radical new interpretations that reshape the ideas of traditional painting.

The work is geometric in nature and takes its cues from Constructivism, Suprematism, and Latin American modernism — art movements that came to being in order to address the radical changes of the modern era, be they political, social, visual, or otherwise.

French art critic Michel Tapié even declared the existence of «un art autre» (art of another kind)-- an art that entailed a radical break with all traditional notions of order and composition, in a movement toward something wholly «other.»

Known for his founding role in the Conceptual Art movement in the 1960's, his radical art practice continues to challenge the cultural status quo by exploring propositions about our relationships to objects and placArt movement in the 1960's, his radical art practice continues to challenge the cultural status quo by exploring propositions about our relationships to objects and placart practice continues to challenge the cultural status quo by exploring propositions about our relationships to objects and places.

This 456 - page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site - specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance.

His notion that movement, sound and visual art could share a «common time» remains one of the most radical aesthetic models of the 20th century and yielded extraordinary works by dozens of artists and composers, including Charles Atlas, John Cage, Morris Graves, Jasper Johns, Rei Kawakubo, Robert Morris, Gordon Mumma, Bruce Nauman, Ernesto Neto, Pauline Oliveros, Nam June Paik, Robert Rauschenberg, Frank Stella, David Tudor, Stan VanDerBeek, Andy Warhol and La Monte Young, among many others.

The Idiosyncratic Pencil is an experimental group exhibition inspired by both the Fluxus art movement of the 1960s and William Henry Fox Talbot's groundbreaking 1844 The Pencil of Nature, each a radical break from past methods of art production.

A post-minimalist who emerged during the Black arts movement of the 1970s, Charles Gaines's investigations of series and systems, cognition and language stood askew against the radical and representational gestures of his counterparts.

A post-minimalist who emerged during the Black arts movement of the 1970s, his investigations of series and systems, cognition and language stood askew against the radical and representational gestures of his counterparts.

The radical Anti-Formalist movements of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual art, and the feminist art movement can be traced to the innovations of abstract expressionism.

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.

The critic and founding editor - in - chief of Artnet magazine for 16 years, he has chronicled the «radical masquerade» of the avant - garde, heralding new talent, skewering the deserving, and identifying epochal shifts in the art scene, from his pronouncement that «there are no art movements, only market movements» to his lament about the rise of «zombie formalism» in contemporary painting today.

The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th - century Modernist movements in both painting and sculpture continued through the first decade of the 21st century and constitute radical new directions in those mediums.

Currently the subject of a major retrospective at New York's Guggenheim Museum, the artist became one of the leading members of Italy's radical Arte Povera, or «poor art» movement, joining members including Lucio Fontana, Michelangelo Pistoletto and Jannis Kounellis.

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.

Roth Time celebrates a radical individualist who spurned international art capitals and movements, and instead followed his own creative path in Iceland and Switzerland.

Though the bright colors and graphic images of Andy Warhol and Pop Art may not seem to bare any relation to the stark sculptures of Minimalism, both movements shared the radical and revolutionary perspective that the value of an artwork didn't necessarily rely on the craftsmanship of the artist.

While the works created by these artists have previously been contextualized in terms of associations and movements ranging from Fluxus to Conceptual Art to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practiArt to the blanketed arena of contemporary art practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practiart practice, in Radical Presence they will be presented along a trajectory providing general audiences and scholars alike, a critical understanding of the significance and persistence of black performance as a stand - alone practice.

Although radical feminist and women's art is facing criticism, artists who belong to this art movement are still deconstructing patriarchal structures of power and oppression, through their brave and unique artistic practices.

There, too, we find Turner, equally radical and influential, inventing a new approach to light which would transform the art and thought of the 19th century (as well as helping to birth that minor French art movement known as Impressionism).

Radical politics were at the centre of the Black Power movement, and was accompanied by effervescent cultural manifestations in literature, film, and the visual arts, and these figures» works will show.

With a diverse assembly of historical and contemporary art, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeart, including several site - specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movemeArt to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movement.

Her current tour de force is «Radical Seafaring,» a survey that spots a new art movement of artist interfacing with water that draws a parallel with the Land Art Movemeart movement of artist interfacing with water that draws a parallel with the Land Art MovemeArt Movement.

An ambitious exhibition in both breadth and intent, «Radical Seafaring» is a survey of art and artist projects in relation to water and calls attention to a new movement in art that's been brewing for some time.

In a way, Grover has combined both these interests in her curation of «Radical Seafaring,» which points to a new art movement through its seamless entwining of conceptual art, sculpture, and artist participatory adventures with insights into the creative process that are essential for the fullest appreciation of art.

For the uninitiated, this essay excerpted from Phaidon's Art in Time: A World History of Styles and Movements provides a quick primer on this radical group's major players and events.

During the 1970s, Benglis engaged in dialogues relating to the feminist movement through her art by pioneering a radical body of video work made up of fifteen videos.

Robert Rauschenberg (born 1925) was instrumental in kick - starting the Pop Art movement and changing the direction of American art with his radical merging of materials and techniquArt movement and changing the direction of American art with his radical merging of materials and techniquart with his radical merging of materials and techniques.

Robert Motherwell was one of the radical maestros of the «New York School» — a term he himself coined — who, along with Jackson Pollock, Willem de Kooning and Mark Rothko, turned Abstract Expressionism into the reigning movement in art in the United States... Continued

Considered a protagonist of Arte Povera, an art movement that emerged in Italy during the 1960s, Jannis Kounellis embarked on his career by creating some of the most radical art works of the time.

Drawing from various postwar art movements and developments: Op Art, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of woart movements and developments: Op Art, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of woArt, Washington Color School, Monochrome Painting, as well as European modes of art making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of woart making, such as Support / Surface and Radical Painting, Mark has created a diffuse, yet particularly American body of work.

In keeping with the theme of the radical art practice of the 1970s and 80s, Two steps to the Left... takes US artist Adrian Piper's groundbreaking interactive performance Funk Lessons (1982 - 85) as a point of departure, to explore dance and movement as a political act; asking what role does dance and music play in the creation of momentary communities, of dissent and assent.

As a result, the works in Radical Women defy not only the invisibility of female artists throughout region, but disrupt existing scholarly and curatorial narrations of late modern and early conceptual art practices across Latin America's different avant - garde movements.

In keeping with the theme of the radical art practice of the 1970s and 80s, Two steps to the Left... takes US artist Adrian Piper's groundbreaking interactive performanceFunk Lessons (1982 - 85) as a point of departure, to explore dance and movement as a political act; asking what role does dance and music play in the creation of momentary communities, of dissent and assent.

The work, animale 2584, is by Italian artist Mario Merz (1925 - 2003), who was a key member of the radical Italian Arte Povera («poor art») movement of the late 1960s.

The SCHIRN KUNSTHALLE FRANKFURT has presented major surveys dedicated to radical turn - of - the - century Austrian art, to pioneering artistic positions ranging from Expressionism and Dadaism to the Surrealist object art by Dalí and Man Ray, as well as dealt for the first time with female artists of the Impressionist movement.

The only female artist affiliated with the radical 1960s art movement Arte Povera, Marisa Merz holds a special place in the history of Modern art.

Presenting a diverse group of artists and activists who lived and worked at the intersections of avant - garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking.

Known for embracing risk and chance, Cunningham believed in the radical notion that movement, sound, and visual art could exist independently of each other, coming together only during the «common time» of a performance.

In May 1968, the radical youth movement, through their atelier populaire, produced a great deal of poster - art protesting the moribund policies of president Charles de Gaulle.

Ezra Winton holds a PhD in Communication Studies from Carleton University, and is currently a Postdoctoral Fellow at Nova Scotia College of Art and Design University where his research and teaching interests include radical and alternative media, social movements, documentary cinema, institutions and culture as well as global cinema and new media platforms.

Through nearly 100 objects, the show aims to upend dominant narratives of the period and to unearth rich stories by examining watershed cultural moments from the Hairy Who to the Wall of Respect, from the Civil Rights movement to the AfriCOBRA, from vivid protest posters to visionary outsider art, and from the Free University movement to the radical jazz of the Association for the Advancement of Creative Musicians.

During the 1960s and 70s, the Brazilian art scene was a hotbed of radical innovation, thanks to the Neo - Concretist movement, of which Lygia Clark (1920 - 1988) was a leading figure.

Radical and transnational (the group's name derives from the main urban centers of the movement — Copenhagen, Brussels and Amsterdam), the postwar artist's group Cobra caused a revolution in modern art in just three years of active work that continues to influence artists to this day.