Sentences with phrase «status as fine art»

This highlights the subjective nature of their status as fine art objects.

Not exact matches

These sneakers can be as rare and as status - defining as the fine watches adorning the wrists of Wall Street bankers or the designer handbags clutched by elite art dealers.

If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.

Every piece, as the exhibition title's reference to foodstuffs might suggest, bears a history of function that precedes its current status as art: a curvy - bladed knife, a mezzaluna, to chop garlic with, perhaps; or a piece of fine china designed for a particular dish.

Women had many obstacles to face in terms of recognition: their artwork was often relegated to merely «craft» or «handiwork» status; they had difficulty getting the schooling and training they needed for fine arts; they often did not receive credit for the work they did, with much of it attributed to their husbands or male counterparts, as in the case of Judith Leyster; and there were social restrictions as to what was accepted as women's subject matter.

Throughout the history of art there has been an interrelationship, if not a tension, between so - called «fine» art and craft, as artists sought for centuries to reach a higher social status than that of simple craftsman.

This winter, the Virginia Museum of Fine Arts (VMFA) presents The Horse in Ancient Greek Art, a ground - breaking exhibition that explores the Greeks» fascination with an animal that served as a symbol of wealth, power, and status in ways that are recognizable and familiar even today.

The Affichistes Pioneers of new realism, early pop artists, street art trailblazers — on their rambles through postwar Paris, the artists who would become known as the Affichistes collected fragments of the weathered and tattered posters, they came across that were often peeling and several layers deep, carried them back to their studios and created original artworks from them, in doing so elevating this ubiquitous aspect of everyday urban life to the status of a fine art.

Photographs are presented in multiple formats, to emphasise their status as objects, not as mimetic devices merely depicting their subject: there are large scale, unique silver gelatin prints, with the inky, seductive, saturated blacks that are characteristic of Beasley's hand - printed method; there is a stack of litho - prints that you can help yourself to, and there are photographic postcards on the kind of dumb, commercial rotating stand that ought to threaten a fine art practice but has instead been co-opted by Beasley to extend her meditation on the currency of the photographic image.

While this impulse is characteristic of Lichtenstein's fully developed paintings, editions such as Ten Dollar Bill were his first to elevate such quotidian forms of commercial culture to the status of fine art.

Arcangel's work has long dealt with the status conferred upon differing cultural ephemera: the privilege endowed so - called Fine Art as compared to the visual vernacular of «lowbrow» pop culture.

But they also point to something about the distinction between fashion and fine art photography, having had their surfaces disrupted by the insertion of aluminium tubes, which emphasise their «objectness» and their status as artworks.

Images like these were very influential in psychedelic art, which curator Andrew Blauvelt asserts is an art form warranting scholarship, despite its lowbrow status as the purview of commercial artists, designers, and engineers more often than fine artists.

Many of the artists involved claimed their use of fabrics, wallpapers, and quilts as a feminist strategy, an elevation of domestic items to the status of fine art.

Studying academics and extracurriculars such as fine arts, physical education, and more, achieving an honor roll status