Sentences with phrase «radical artists who»

The exhibition brings together seminal works by radical artists who came to prominence in the late 1960s and early 1970s, alongside works by younger artists from Amsterdam, Belfast, Lisbon, Glasgow and London.

It brings to mind our feminist precedents, radical artists who died in poverty and hunger, such as Elsa von Freytag - Loringhoven.

Not exact matches

According to Gore, her daughter and Hip Mama's art director, Maia Swift, found Ana Alvarez - Errecalde and «reached out to her so we could feature her in Hip Mama as an artist who is doing beautiful work in terms of self - directed and radical images of motherhood.»

So for us, you can't have conversations about radical imagination without including artists, as they are the ones who articulate that vision both visually and sonically.

Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the modernist tradition.

Baker writes: «Drawing a connection between the redrawing of political borders and the subsequent exchange of ideas among previously alienated artists, the exhibition theorizes that the surge of creativity in the 1920s and 30s could have been a direct response to the mingling of Russian Constructivists (who migrated west due to the increasingly conservative Soviet policies against the avant garde) and the radical Dutch conceptualists they encountered.

Rail: Most of us who have followed your work for a while know that you identify with the experimental spirit and radical politics of the»60s and»70s, especially feminism, as seen in the works made by artists such as Joan Semmel, Howardena Pindell, Louise Fishman, and Harmony Hammond.

The answer is long and complex, and has much to do with the radical shifts in culture that have occurred over the past 25 years or so, both in Britain and the world: the unstoppable rise of art as commodity and the successful artist as a brand; the ascendancy of a post-Thatcher generation of Young British Artists (YBAs) who set out, unapologetically, to make shock - art that also made money; the attendant rise of uber - dealers such as Jay Jopling in London and Larry Gagosian in New York; and the birth of a new kind of gallery culture, in which the blockbuster show rules and merchandising is a lucrative sideline.

FILM Rising art stars Bradford Young (cinematographer, whose work was featured in Black Radical Brooklyn exhibition over the summer) and Jason Moran (composer, who collaborates with visual artists and joined Luhring Augustine this year) add the much - anticipated «Selma» to their resumes.

Sex Work will also highlight the seminal role galleries have played in exhibiting the radical women artists who were not easily assimilated into mainstream narratives of feminist art.

Visionaries: Creating a Modern Guggenheim will explore not only avant - garde innovations from the late 19th through mid-20th centuries, but also the radical activities of six patrons who brought to light some of the most significant artists of their day.

A conceptual artist 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.

«For the most part, the radical portraits of the 1960s feature subjects who were at the forefront of innovation in their chosen fields, be they art, dance, music, or writing, and offer surprising insights regarding the artist, subject, and historical moment.»

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Rigartist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

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 Eric Firestone Gallery presentation at Untitled highlights the radical, historic contribution of artists who have been marginalized in the canon, or whose work is not often seen today.

The artists associated with these galleries were largely West Coast transplants who drew on the revolutionary music of John Cage and on the Bay Area's radical reinvention of poetry and dance to develop a new approach to visual art to be presented in a new kind of cultural space.

However, for the younger and less acknowledged artists in Radical Presence, a show of this kind offers an opportunity for their work to be seen in the company of artists who have successfully crossed over to the mainstream, and so to be introduced to audiences that otherwise don't seek out black artists.

JEFFREY DEITCH — Why shouldn't a major artist be as important as a rock musician — be someone who can transmit radical ideas about progressive culture to the world, in the model of, say, John Lennon?

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.

This major group exhibition of contemporary women artists, across mediums, styles and genres, coincides with and responds to The Fine Art Society's, London, representation of the radical artist Gluck (1895 - 1978) who, determined to be known for her art not her gender, cropped her hair, and adopted the androgynous name with «no prefix, suffix or quote.»

Focusing primarily on African American artists in and out of the Black Arts Movement, the exhibition features approximately 100 objects assembled from the Smart Museum's collection and other public and private collections, including art and ephemera associated with the Wall of Respect, Black Creativity, the Civil Rights Movement, AfriCOBRA, Afrofuturism, the Hairy Who, and the radical sounds of the Association for the Advancement of Creative Musicians.

German artist Hannah Höch was a true radical: a trailblazer of photomontage who started out writing for women's handicraft mags, and the first lady of dada — though they constantly tried to elbow her out.

This exhibition of the radical plastic oeuvre of the American artist Bill Bollinger (1939 - 1988), who almost slipped into obscurity, will be the first of its kind since the 1970s.

Taking as its starting point three seminal exhibitions curated by Lubaina in London from 1983 to 1985, the Tate Britain display charted the coming to voice of a radical generation of British artists who challenged their collective invisibility in the art world and engaged in their art with the wider social and political issues of 1980s Britain and the world.

This first issue contains a selection of works by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery — then a quite radical concept.

Out of all the artists who contributed to the development of this radical and revolutionary movement, Gilberto Zorio always managed to stand out due to his ability to provoke authentic and intense experiences in viewers.

Read about Italian - born artist Monica Bonvicini who refuses to be confined by the architecture of her surroundings, but offers in her radical gestures, her own menu of obstacles.

Radical Nature is the first publication to gather together artists from this period and onward, who have created utopian works and devised inspiring solutions for our planet.

Luke is an ambitious artist who, through his work, will explore the writings and rarely - seen archive materials of the radical socialists Edward Palmer Thompson, Raymond Williams and Richard Hoggart, whose teaching and writing was honed in working - class communities, particularly in Yorkshire.

Alexandra Bircken is an artist who has attracted interest for her sculptures and installations that combine knitted elements with organic and lowly materials such as hair, leather, dried grass, latex and twigs, creating amulet - like objects with an arts and crafts aesthetic that reflect her background in fashion design and an interest in the radical aspects of handmade culture.

Alloway, Richard Hamilton and Eduardo Paolozzi founded the Independent Group, a collective of artists, architects, and writers who explored radical approaches to contemporary visual culture during their meetings in London between 1952 and 1955.

Among an ever expanding (and as Karen Barad might say, «entangled») list, I am inspired by the complex and contradictory city I live in (the city of Chicago) and the incredible community of hard working, sincere, talented artists who I am surround by and have the privilege of working alongside and in collaboration with every day (too many and to diverse to name individually here) / / by mentors A. Laurie Palmer and Claire Pentecost and Anne Wilson and Ben Nicholson / / by Simon Starling and Andrea Zittel and Mark Dion and Sarah Sze and Phoebe Wasburn and Mierele Laderman Ukeles and Joseph Beuys and Eva Hesse and Hans Haacke and Robert Smithson / / by writers and philosophers Karen Barad and Jane Bennett and Rebecca Solnit and Italo Calvino and Steward Brand and the contributors to The Whole Earth Catalog (of which my father gave me his copies) and Ken Issacs and Carl Sagan and Neil deGrasse Tyson and William Cronon and Bruno Latour and Deluze and Guttari and Jack Burnham / / by ideas of radical intimacy and transformation and ephemerality and experimentation and growth and agency and mobility and nomadicism and balance and maintenance and survival and change and subjectivity and hylozoism and living structures / / by mycelium and soil and terracotta and honey and mead and wild yeast and beeswax and fat and felt and salt and sulfur and bismuth and meteorites and microbes and algae and oil and carbon and tar and water and lightening and electricity and oak and maple / / by exploration and navigation and «the Age of Wonder» and the Mir Space Station and the Deep Tunnel Project / / by Lake Michigan and the Chicago River and waterways and canals and oceans and puddles... to name a few.

Americans Were Radical Too, You Know — The Continental artists who sparked the bulk of the outrage were also joined by homegrown avant - gardists Marsden Hartley and John Marin.

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.

Keith Sonnier emerged in the 1960s with a generation of artists who pioneered a radical new approach to sculpture.

While the exhibition's organizers, a group of artists led by Walt Kuhn and Arthur B. Davies, aimed to show off the talents of the most radical American artists, who were mostly realists, the unexpected outcome of the show was a virtual hijacking of the headlines by the European avant - garde.

Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan, published last year by MIT Press, «examines three key figures in Japanese art of the 1960s who made radical and inventive art,» including Japanese conceptual artist Matsuzawa Yutaka, Kansai - based art collective The Play and a regional collective Group Ultra Niigata.

Running from 2 October — 9 December 2018, Strange Days: Memories of the Future will take place at The Store X, 180 The Strand, and will survey some of today's most radical image - makers, featuring video artists and filmmakers who have shown at the New Museum since the inauguration of its new building on the Bowery.

This radical approach to art making set them apart from artists who commanded the greatest market interest at the time, and by rethinking the connection between objects and concepts in the 1980s, they changed the landscape of the art world forever.

Pop Life: Art in a Material World argues that Warhol's most radical lesson is reflected in the work of artists of subsequent generations who, rather than simply representing or commenting upon our mass media culture, have infiltrated the publicity machine and the marketplace as...

This is your last chance to see ATHICA's 44th exhibition, Southern, curated by Judith McWillie and Assistant Curator Lauren Williamson, which features many never - before - seen works which explore the emotional depth and aesthetic diversity of nine artists — spanning four generations — who are interrelated in their «radical contemporaneity.»

Pop Life: Art in a Material World argues that Warhol's most radical lesson is reflected in the work of artists of subsequent generations who, rather than simply representing or commenting upon our mass media culture, have infiltrated the...

Robert Adanto's film explores radical «4th wave» feminist performance through interviews with a new generation of artists who use their bodies as subject matter.

We Wanted a Revolution: Black Radical Women, 1965 — 85 is a new show at the Brooklyn Museum featuring more than 40 artists, including Carrie Mae Weems, Howardena Pindell and Faith Ringgold, to highlight the work of black women who were at the crossroads of the Civil Rights, Black Power and Women's Movements during that 20 - year period.

A conceptual artist who works in performance, photography and video, he participated in the 2014 Whitney Biennial and was also featured in the 2013 group show «Radical Presence: Black Performance in Contemporary Art.»

«Radical Terrain,» the Rubin Museum's third exhibition exploring Modernism in India, focuses on landscape, presenting work by the generation of artists who worked after India gained independence in 1950.

Michelangelo Pistoletto at the National Gallery in Washington, DC: The artist is being interviewed today by the NGA's James Meyer who is also the author of the monograph Michelangelo Pistoletto: The Minus Objects 1965 - 1966, «which explores the origins and impact of this seminal body of work as a radical turning point in postwar sculpture and conceptual art.»

I know of no other artist, in America or in Europe, who has pursued Reed's interest in visual fragmentation — his deconstruction of gestural figurative and abstract painting — in this radical way.

Jannis Kounellis (1936 - 2017), who died suddenly a year ago, was one of the major protagonists of Arte Povera, a movement of radical artists that emerged in Italy in the 1960s.