Sentences with phrase «seen in their contemporary context»

At a glance the events of the Bible and the life of the Church can be seen in their contemporary context.

Not exact matches

In exploring the context for catechetical work in the contemporary Church and culture these seminal documents need to be seen as major resourceIn exploring the context for catechetical work in the contemporary Church and culture these seminal documents need to be seen as major resourcein the contemporary Church and culture these seminal documents need to be seen as major resources.

Yes, I know these galleries are in the business of selling art, but they also create a historical context for the contemporary work we see

We are seeing the reemergence of work by artists later in life in a contemporary context.

I see the remit of public art institutions, in general, particularly with respect to their engagement with the contemporary and recent art, to create a context that draws people in.

It remains to be seen whether the political turn in contemporary art suggested by the recent Whitney Biennial and Documenta 14 in Athens translates into the commercial context of Art Basel.

Having had two solo shows at Hauser & Wirth, and solo exhibitions at the Milwaukee Art Museum, Kemper Museum of Contemporary Art (Kansas City), McNay Art Museum (San Antonio), and the Garage Museum of Contemporary Art (Moscow) just since 2015, we can't really say that this is a rare opportunity to see the artist's work, but we are excited to see Johnson work in a new medium and context.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Filled with handwritten lyrics, stage costumes and childhood artifacts, and with hardly any attempts at placing Bowie's career within a visual art context or linking him to contemporary practices visual or otherwise, it is very difficult to see this one - dimensional exhibition as more than a tactic to get the non-art audience in the doors.

In the context of contemporary painting, Larmon's work can be seen as linking two related practices.

The exhibition promises to be revelatory, setting emblematic works by Judd and Flavin in a European context and asserting the importance of contemporary innovations by Castellani and Uecker, two major European artists who have rarely been seen in London.

Despite the obvious references, Still resisted having his paintings seen in the context of nature... What truly sets Still apat from his contemporaries and indeed from most artists is his awe - inspiring spatial relationships,» the catalogue noted.

Many of these contemporary works are well - trodden classics by this point, but seeing them in the context of nearly 100 years of art lends them a certain poignancy, especially during a fair week, when so many of the products being sold seem unlikely to endure for even another decade.

By coupling bright, mostly young talents who deal with similar issues, the art audience sees novel connections and finds a unique context for understanding contemporary art in new ways.

It was interesting to see contemporary art in this context.

In New York City, be sure to see: «The Big Picture» at Sikkema Jenkins (featuring NAP alums John Dilg and David Schutter); «Breed» at Greenberg Van Doren Gallery (featuring NAP alum Eddie Martinez); «Stretching Painting» at Galerie Lelong (featuring NAP alums Sarah Cain, Kate Shepherd, and emerging Chicago - based artist, Gabriel Pionkowski); «Contemporary Watercolor» at Morgan Lehman (featuring NAP alums Nina Bovasso, Sarah Cain, Ellen Lesperance and Kim McCarty); «Yeah we are friends and shit» at Josee Bienvenu Gallery (featuring NAP alums Kirk Hayes and Devin Troy Strother); «Stand still like a hummingbird» at David Zwirner (featuring NAP alum Ruth Laskey); «In plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven RivingtoIn New York City, be sure to see: «The Big Picture» at Sikkema Jenkins (featuring NAP alums John Dilg and David Schutter); «Breed» at Greenberg Van Doren Gallery (featuring NAP alum Eddie Martinez); «Stretching Painting» at Galerie Lelong (featuring NAP alums Sarah Cain, Kate Shepherd, and emerging Chicago - based artist, Gabriel Pionkowski); «Contemporary Watercolor» at Morgan Lehman (featuring NAP alums Nina Bovasso, Sarah Cain, Ellen Lesperance and Kim McCarty); «Yeah we are friends and shit» at Josee Bienvenu Gallery (featuring NAP alums Kirk Hayes and Devin Troy Strother); «Stand still like a hummingbird» at David Zwirner (featuring NAP alum Ruth Laskey); «In plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven RivingtoIn plain sight» at Mitchell - Innes and Nash (featuring NAP alum Anna Conway); «Everyday Abstract - Abstract Everyday» at James Cohan Gallery; «Painting in Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivingtoin Space» at Luhring Augustine; «Context Message» at Zach Feuer; «Hot Tub Time Machine» at Canada; and «Braman, Buren, Falls, Heilmann, Louis, Thurman» at Eleven Rivington.

The exhibition combines visual displays by professional futurists with works (mostly new works premiered here) by contemporary artists, to see what these two contexts might have in common and how they might question each other.

Agbodjelou's camera captures the socio - political context of Porto - Novo from a contemporary point of view and offers a different perspective to the common images of African cities we see in the media.

Normally seen in the context of the period room, their presentation within a contemporary gallery space offers the viewer the opportunity to focus on the objects themselves.

Several of the artists represented in the exhibition studied and / or worked in Spain, or were influenced by Spanish art in other ways; seeing their paintings in the context of the Meadows» collection of Spanish art, especially those works from the same period, will enable visitors to detect early European influences, and understand how many of these Mexican artists later began to forge their own artistic path distinct from their European contemporaries.

Organized by art historian Linda Norden, with Peter Ballantine, the leading expert on Donald Judd, the show provides context to the contemporary art fairs — after all, no movement exists in a bubble, and the reverberations from artwork made in 1960s can still be seen trembling in work made today.

Often presented with precise accuracy — as seen in the drawing by Eric Yahnker and collage by David X. Levine — contemporary, historical, and religious figures can find new meaning within the context of a portrait.

Over the last decade, these features have produced engaging programming on 85 modern and contemporary artists, enabling visitors to learn about the contexts in which the artworks were created, see videos of the artists in their studios, hear first - person explanations of their creative processes, and view high - resolution digital images of the artworks.

Turner Monet Twombly will allow Turner and Monet to be seen within a contemporary context, while demonstrating the strong lure of classicism in the painting and sculpture of Twombly.

We are foolish if we disconnect ourselves from community because we don't serve the children who we work with well by not helping them to understand that they are a part of a community because what we know is that that will last those children for a very long time into the community and if they leave our early childhood services feeling that they are a connected person and that there are people in that community who can help them if they get in trouble, and they also know that their families are part of a community and that there are differences in that community which are beneficial and important and most importantly I think in the context of contemporary early childhood education we see it as an opportunity for children to feel that they can be active participants whose voices are heard.