Sentences with phrase «revelatory retrospective»

The Serpentine's revelatory retrospective of work by the Swedish artist Hilma af Klint (1862 — 1944), curated by Birnbaum of Sweden's Moderna Museet and the Serpentine's Emma Enderby (now a curator for Public Art Fund), might have been one of the most widely covered exhibitions of the year.

The reaction of the unseen, breathless, and elated MC at the end of Bruce Conner's moving - image installation Three Screen Ray, 2006, is likely to be the exclamation of many a visitor exiting «Bruce Conner: It's All True,» the revelatory retrospective of some 250 works currently installed at the Museum of Modern Art in New York (through...

That a revelatory retrospective of Polish artist Alina Szapocznikow is full of wonders and horrors

Not exact matches

«Revelatory» discourse is «poesis» which we, given the needed critical judgment, can receive and live out as «testimony» in turn.40 We will try to show that this dialectic, carried out over generations, closely corresponds in the retrospective mode to Ricoeur's account of Gerhard von Rad's «tradition history» and, looking forward, to the philosopher's understanding of Jurgen Moltmann's «theology of hope.»

This year's diverse group includes Thomas Hirschhorn's socially interactive «Gramsci Monument» at the Bronx's Forest Houses Project; the revelatory scholarship demonstrated by the Crocker Art Museum's «An Opening of the Field: Jess, Robert Duncan, and Their Circle,» and provocative thematic exhibitions like The Los Angeles County Museum of Art's James Turrell retrospective and the Metropolitan Museum of Art's innovative juxtapositions of 19th century fashion and art in «Impressionism, Fashion and Modernity.»

Yet Tate Modern's immaculate retrospective, the first substantial show of her work since her death in 2004, suggests something different — and revelatory.

As for the DMA, it's in the middle of its first major Islamic art exhibition and in recent memory has hosted a surprising Edward Hopper drawing survey, an equally revelatory Jean Paul Gaultier retrospective, and The Mourners: Medieval Masterworks from the Court of Burgundy.

And it's especially admirable that it's happening while the Tate is also showing major exhibitions of gay artists David Hockney and Wolfgang Tillmans, with the revelatory Robert Rauschenberg retrospective only recently ended.

As revelatory and satisfying as this effort will undoubtedly be, I wish the museum would do something completely strange, like mounting a thorough, Modern - style retrospective of the artist - healer Hilma af Klint, someone completely outside its carefully elaborated narrative who was nonetheless one of Europe's earliest abstract painters.

Invented in secret in the privacy of Oiticica's New York loft in the early 1970s, they were not shown as works of art until 1992, twelve years after Oiticica's death, when the first and third in the series — CC1 Trashiscapes and CC3 Maileryn — were exhibited as part of the first traveling retrospective of the artist's work.3 Prior to that exhibition, Oiticica's New York sojourn was little analyzed due to the perceived paucity of his artistic production between the years 1970 and 1978.4 The 1992 presentation of the Cosmococas was revelatory in this regard: not only did these quasi-cinemas demonstrate the continuity and conceptual elaboration of key aesthetic concerns within Oiticica's work (the vertiginous passage from painterly to narcotic «pigment» in service of the sensorial is surely the most striking of these animating threads), they indicated the artist's pointed engagement with the avant - garde artistic culture of New York.

Petzel took a revelatory look at the late, great Austrian painter Maria Lassnig's years in New York, from 1968 to 1980, Matthew Marks offered a treatise on the ultra-controlled, wildly underrated Peter Cain, Galerie Lelong presented a display of Ana Mendieta's vital films, Metro Pictures showed deep cuts by Bas Jan Ader, Craig F. Starr delivered a master class on Sylvia Plimack Mangold's early paintings of floors and rulers, Hauser & Wirth hosted not one but two incredible Philip Guston shows (the second, of Nixon drawings, is still on view, offering psychic balm in these dark times), Questroyal organized a jam - packed assemblage of paintings by the indefinable American mystic Ralph Albert Blakelock, and Jeffrey Deitch brought the traveling retrospective of the Pictures Generation original Walter Robinson to Robinson's hometown.

Less a retrospective than the manifestation of a presence and influence that had always been with us — if somewhat obscured behind the Arte povera movement as a whole in which she was a significant player — the Merz show had an ethereal but revelatory power with a sostenuto as expansive as, well, the sky.

This retrospective offers a revelatory, in - depth encounter with the work of Jay DeFeo (1929 - 1989), one of the most important and innovative artists of her generation, but one who until now has not been given her due.

Every generation needs a refresher course in history, I suppose, and John Elderfield, MOMA's Chief Curator Emeritus of Painting And Sculpture and organizer of the upcoming retrospective, has the eye and the acumen to pull a revelatory rabbit or two out of his hat.