Sentences with phrase «relation to the art movement»

An exhibition of works drawn from the museum's permanent collection considers the work of Chicago artist Frederick D. Jones Jr. in relation to the art movement known as social surrealism.

Not exact matches

Johns is primarily considered within the Neo-Dadaist movement of the early 1960s, but his use of popular imagery places him in relation to the emergence of Pop Art and he is often considered an early influence of the genre.

For all that the work can seem alien, Szapocznikow was no outsider: as Andrew Bonacina, co-curator of the exhibition at the Hepworth points out, she was plugged into the artistic movements and conversations of her time, and you can, if you so choose, read her sculpture in relation to pop art, to late ‑ flowering surrealism, and to neo-realism.

McGrady and a group of students have collectively produced a mural in the Lower Atrium at the Myers School of Art that addresses freedom of movement and control mechanisms in relation to public space.

LG: Another great quote from Hans Hofmann quote has him saying: «Nature's purpose in relation to the visual arts is to provide stimulus — not imitation... From its ceaseless urge to create springs all Life — all movement and rhythm — time and light, color and mood — in short, all reality in Form and Thought.»

The exhibitions will range in theme from material explorations, to race relations in the US, to revelations across movements in art history.

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.

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.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

The structure of the new medium itself played an important role in addressing questions about female identity in relation to art, pop culture, and dominant feminism movements at the time.

The second issue, concerning «authenticity» and «the black experience» is generally discussed in relation to the Black Arts movement and its preference for images that contested the pervasive vilification, ridicule, and disparagement of African Americans in US popular culture.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

In this exhibition José Parlá pays homage to several artists such as Mimmo Rotella, Isidore Isou, Tristan Tzara, and Burhan Dogançay, and art movements that are close in relation to his practice: New Realism and Lettrism.

I've also been doing a bunch of research on Arte Povera, an Italian Art movement in the 60's and 70's that was interested in the using bare, raw materials around them and putting them in relation to other things.

Since the 1960s, her work has transcended the numerous «posts» and «isms» of the art world's different movements, all the while interrogating our bodies and identities, questioning art's relation to life, and testing the lines between the real and the virtual.

«Cosmic Communism» will do justice to Freundlich's involvement in movements including Expressionism, Cubism, Dada, Constructivism, and 1930s abstraction, exploring his work in diverse media — from massive figural bronzes and black - and - white prints to sumptuously luminous abstract painting, mosaic, and glass — and elucidating the relation between his art and utopian politics.

This allowed her to further expand her research on the links between physical and virtual mobilities (movement, representation, practice), and consider their relation with contemporary art practice.

The exhibition, put on by the online art platform, Artuner, explores the seeping effects of social media and its relation to motion and movement echoed in the title of the show (and nodding gently both in the direction of Beyonce and Jay Z's recent tour and to Cali - style skate culture).

He has also used the spiral form in A Sculpture Left by the Tide 1970 (AL00184), in relation to which art historian Rudi Fuchs has identified the spiral as «a figure of slow movement» (Fuchs 1986, p. 133).

Best known as Neo-Geo (and also called Neo-Conceptualism and Simulationism), the 1980s East Village movement involved a redeployment of minimal strategies from conceptual art in relation to popular culture, melding aspects of pop art and conceptualism.

In Vitruvius's 1st century BC encyclopedia of architecture, a seminal antecedent to Architectural Graphic Standards, these vernacular skills become the art of building and one finds entire chapters devoted to the profound significance of the sun's movement in relation to the location of rooms, the size of apertures, and thermal mass.

They cover the spectrum of life (and strife) as an attorney, «including but not limited to» ridiculous hours and the other sacrifices lawyers (and their families) make, headhunters and lateral movement, client relations, the adversarial system, the art of negotiating, time records and bills, meeting deadlines, document reviews, legal reasoning and argument, cross-examination, business travel, and year - end bonuses.

Our world - renowned art lawyers provide expert inheritance tax planning in relation to chattels and historic buildings, conditional exemption claims on valuable pieces of art, purchases, gifts and leaseback sales, loans to museums, import and export controls on the movement of art, and owners» and trustees» responsibilities.