In this exhibition a sound - sculpture, «Ratta - callity» (1974), uses the artist's voice to propose
radicality as an attitude, while the soundtrack of two films reverberate through the galleries.
This session proposes to explore and discuss the multiple meanings and definitions of
radicality as it is found in the works of Radical Women.
Not exact matches
This «great refusal» is what makes Christianity what it is and thus infuses in its very nature a
radicality that can never accept the world
as it is.»
For human meaning centers in faith; and we now see the dialectic of faith, that is, of Christian faith, in its
radicality, namely, that the transcendence of God passes totally into the immanence of Christ, so that transcendence when perceived
as such has only a shell left — the power of repression.
In the Sermon on the Mount, also, what is accented is the universality of love and moral responsibility
as well
as its
radicality.
In it she argues: «the
radicality of FGT's work lies in the insinuation of the particular in the place of abstraction, while simultaneously destabilizing the particular
as a fixed positivity.
As an active member of the group SHRIMPS (Paul Casey, Gayle Youngquist, Steve Nagler, Ryan Hill et Weba Garretson), he performed a series of familiar and simple gestures: holding, throwing, falling, kissing, cadencing, rocking; performances that oscillated between
radicality and the absurd, both transpiring through the photographs taken during the performance.
The
radicality, both formal and existential, of the masters Lynda Benglis, Simon Linke, David Novros and Ron Gorchov, meets the poetic and linguistic instances of younger artists, such
as Oscar Giaconia, Thomas Helbig and Marco Cingolani.
Coinciding with the release of his latest feature film, 12 Years a Slave, this extensive retrospective brought McQueen's impressive two decades of quiet
radicality full circle, showing that to comprehend his powerful and unsparing vision
as a filmmaker one must begin with the roots of his practice
as an artist.
«Olitskis such
as «Untitled - Two» (1960), which began with his staining unprimed canvas, retain a whiff of the
radicality they appeared to have 50 years ago.
David Rimanelli: «No longer do we live in a period in which we can confidently predicate the
radicality of form
as a necessary concomitant of radical content, the cri de coeur of both the forthrightly agitprop and ironically subversive historical avant - gardes.