Sentences with phrase «radical experimentation with»

Dismissing notions of a diminishing, elderly artist, the display brings together 150 works that reveal Turner's radical experimentation with technique, process and material during this time.

While Tate Britain explores Turner's celebrated late career in which he embarked on radical experimentations with technique, process and material, the V&A delves into the story behind Constable's master paintings — many of which have only received rightful recognition in the modern age.

Not exact matches

Yet it can also accommodate Chytilová's beautiful play with textures and super-slow motion in Automat Svět (At the World Cafeteria), pointing to the radical experimentation which would fully blossom between her and Kučera in Sedmikrásky (Daisies, 1966) and Ovoce stromů rajských jíme (Fruit of Paradise, 1969).

The show explores Rauschenberg's collaborative relationships, constant experimentation with materials and processes, and radical rethinking of what art could be.

In the decades that followed, Horst's experimentations with radical composition, nudity, double exposures, and other avant - garde techniques would produce some of the most iconic fashion images ever, like Mainbocher Corset and Lisa with Harp (both 1939).

49 Cities is a call to re-engage cities as the site of radical thinking and experimentation, moving beyond «green building» toward an embrace of ideas, scale, vision and common sense combined with delirious imagination in the pursuit of empowering questioning and re-invention.

Renowned for his technical experimentation, Degas (French, 1834 — 1917) exhibited just one sculpture during his lifetime, the controversial Little Dancer, Aged Fourteen, which startled visitors to the 1881 Impressionist exhibition with its unidealized physiognomy and radical use of real materials such as silk slippers and a wig made from human hair.

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.

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.

In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term, that sustains us.

It is an aesthetic that links many of the women artists who feature in this issue, including Barbara Hepworth (1903 — 1975), whose forthcoming Tate Britain exhibition celebrates not only her long life of radical experimentation (both in the creation of her artworks and also the way they were to be experienced by the viewer), but also how important an international figure she became, with exhibitions across the globe from a relatively young age.

However, viewers of The Power of Pictures are presented with a dispiriting historical narrative of the project, as imagery shifts from radical experimentation to overt state propaganda.

Hong Kong, June 28, 2016 — Lehmann Maupin is pleased to present Radical Materiality, a group exhibition featuring Mary Corse, Liu Wei, and Nari Ward, three artists whose practices push the boundaries of traditional genres and material specificity through innovative experimentation with unconventional mediums.

Once associated with young women and amateur «Sunday painters,» the medium became, in the hands of Winslow Homer and John Marin, a theater for radical experimentation.

Lehmann Maupin presents Radical Materiality, a group exhibition featuring Mary Corse, Liu Wei, and Nari Ward, three artists whose practices push the boundaries of traditional genres and material specificity through innovative experimentation with unconventional mediums..