Sentences with phrase «reference contemporary languages»
Chitra Ganesh and Christopher Myers reference contemporary languages of magical realism such as Ben Okri's Famished Road and Apichatpong Weerasethakul's Uncle Boonmi, as well as the filmic anthropological languages of Maya Deren and Katherine Dunham.
https://art.unc.edu/ Not exact matches
Ironically, it was a visit by Ramsey and his attendance of a lecture by the great intuitionist mathematician Brouwer that set Wittgenstein again to the task of philosophy.8 His Logical Investigations in which he established a new — how shall we say it — relational philosophy based on simple language games has become the primary reference of the contemporary philosophical position called language analysis and was a massive attack on Tractatus Logico - Philosophicus.
Referencing elements of the brand's contemporary design language, Vanquish Zagato Concept features One - 77 inspired wing mirrors and a sculptural rear end similar to DB11 «s aerodynamic profile, complete with retractable spoiler and rear hatch for access to the luggage compartment.
Wisdom is leading English language publisher specializing in Buddhist literature including translation of reference texts, and commentaries, meditation manuals and teachings by past and contemporary teachers from all Buddhist traditions.
Referencing past precedents of feminist art, installation, performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the 1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.
If Houseago's works resonate, it is because they encompass a wide range of influences: the formal language of sculpture throughout the ages (from ancient to early modern), mythology, the natural world of plants and animals, African tribal art, cartoon imagery and contemporary music and culture (the title of the exhibition contains a fragment from the lyrics of «Wild Child» by Lou Reed and a reference to James Taylor's «Like A Circle Round the Sun»).
The artist's work synthesizes information into an entirely graphic language, starting with the formal concerns of surface, composition, color and tension, while introducing a range of subtle contemporary references and symbols.
In the years before the mid-1980s art market boom, Schnabel forged a pictorial language that embraced unconventional methods and materials with a visceral effect; he introduced to the American contemporary art scene a particularly European post-war sensibility through his admiration for Francis Picabia and his personal artistic dialogue with Sigmar Polke and Blinky Palermo; and he broke with the prevailing conceptualism through figuration, personal narratives and references to history and mythology.
In the obscure, neologic language of Stuart Cumberland's canvases, spontaneity translates into repeated imagery, referencing the contemporary tension between handmade and mechanical, printed elements.
While their ancient forebears may have turned to abstract form as a vehicle to explore the divine, artists today approach abstraction as a language, rich with references to contemporary culture.
Taking on the giants of Abstract Expressionism — Mark Rothko, Willem de Kooning, Robert Motherwell — Bradley de-constructs abstractionism in contemporary practice, building his own language of art historical reference, wry appropriation and past formulas.
My current work references early 20th century abstract art and design to develop a visual language in response to the fast shifting streetscapes and architectural spaces of contemporary London and its ever present half - built skyscrapers.
The visual language of the works in this show references a contemporary example of Kurzweil's theory, which is founded on the principle that technological change is exponential.
Referencing the Italian folk - tale The Adventures of Pinocchio, Spite Your Face offers a powerful critique of contemporary «post truth» political rhetoric, in which the dubious language of truth is used and abused to enhance personal, corporate and political power.
Reminiscent of 1960's color field painting by artists such as Larry Poons and Helen Frankenthaler, Penkala updates the atmospheric language by suggestions of contemporary technology; hyper color and references to illuminated screens of lap tops, smart phones, monitors and televisions.
Raphael Rubinstein suggests in Art in America that what sets Oehlen apart from other contemporary artists like, say, Oscar Murillo and Josh Smith, who have been know to borrow freely from Abstract Expressionism's gestural language, is that Oehlen «doesn't simply plunder art history for stylistic options or knowing references, but instead seeks to understand, assimilate and, with luck, transcend past precedents.»