Sentences with phrase «think about art history»

«It's what makes me think about art history as a stacking and stacking, or unstacking, or digging and burying, but to me it's always stacked until like two minutes ago, when whoever just finished a painting — the most contemporary piece, newest, modern piece of art is being finished right now».

So that's in my brain when I think about art history or context: I remember seeing that as a 20 - year - old and thinking, «Oh, wow.

Other Primary Structures raises a number of questions for debate: Does this kind of revisionist, curatorial exercise influence how we think about art history — and if so, in what ways beyond the fact that we ought to look beyond the so - called mainstreams?

Take a moment to think about art history, the traditional landscape, religious and patron portraiture, the still life, and the Odalisque; these elements all comprise the Western canon of art.

Not exact matches

But I have thought about donating it to an art museum or a women's history exhibit somewhere.»

Those surveys were designed to measure five types of outcomes: 1) whether the school tour helped create cultural consumers (students who want to return to museums and engage in other cultural activities), 2) whether the school tour helped create cultural producers (students who want to make art), 3) whether the school tour increased student knowledge about art and history, 4) whether the school tour improved student critical thinking about works of art, and 5) whether the school tour altered student values, like empathy and tolerance.

«I tried multiple majors — toyed with art history and thought about political science, all because I thought I should.»

The six promising practices in afterschool for the arts identified in the Afterschool Training Toolkit are as follows: Building Skills in the Arts; Expressing Yourself Through the Arts; Making Connections to History and Culture; Thinking and Talking About Works of Art; Integrating the Arts With Other Subjects; Involving Families and Communitarts identified in the Afterschool Training Toolkit are as follows: Building Skills in the Arts; Expressing Yourself Through the Arts; Making Connections to History and Culture; Thinking and Talking About Works of Art; Integrating the Arts With Other Subjects; Involving Families and CommunitArts; Expressing Yourself Through the Arts; Making Connections to History and Culture; Thinking and Talking About Works of Art; Integrating the Arts With Other Subjects; Involving Families and CommunitArts; Making Connections to History and Culture; Thinking and Talking About Works of Art; Integrating the Arts With Other Subjects; Involving Families and CommunitArts With Other Subjects; Involving Families and Communities.

The variety of responses soon had me thinking about the tension between gamers and game developers, and as an artist, I naturally went to art history for understanding.

Catharina Manchanda, the museum's curator of modern and contemporary art, said she began thinking about the ideas of history and representation in art during the Obama administration.

I was introduced to their work in a Performance Art History course in college and they completely changed the way I thought about abstraction, the body, and space.

Pendleton and Rainer are paired by Performa Curator Adrienne Edwards as counterpoints to or varying entrees into the history, legacy, and influence of Dada in an effort to complicate and reimagine what we think we know about this art movement.

Fowler is a filmmaker who uses photographs, archival images and music, building experimental cinematic collages that ultimately deconstruct conventional thoughts about biography and the documentary; the viewer is drawn in and confronted with their own relationship to history and to film as an art form.

He's been looking at the history of performance and how it's impacted the development of the visual art, thinking about Donald Judd and Robert Rauschenberg and that whole generation.

Three - dimensionality in sculpture in the way we are now thinking about it and attempting to achieve it is new, unexplored territory in the history of art; and I repeat the point that it has no connection with the appropriation of literal three - dimensions by painters, collagers and assemblers, or indeed the frontal pictorialism of Picasso, Smith or Caro, or the objecthood of Minimalism..

To find out more about the history and future of Brazil's art scene, we asked curatorial resident Raphael Fonseca to share his thoughts...

As ever, this promises to be a lively mash - up of subverted references, that challenges you to think again about the colonialist or otherwise oppressive histories that western art helped to write.

Luke Fowler is a filmmaker who uses photographs, archival images and music, building experimental cinematic collages that ultimately deconstruct conventional thoughts about biography and the documentary; the viewer is drawn in and confronted with their own relationship to history and to film as an art form.

Earlier this year, when Stanford University bought her working archives, Stanford art and art history Professor Paul DeMarinis said Hershman Leeson «envisioned, thought out and realized just about everything about interactive narrative that is going on now, well in advance of its officially acknowledged gurus.»

Their works fuse traditional cultural knowledge with contemporary art forms, pose urgent political questions, and push the boundaries of how we think about art, history and culture more broadly.

They were intellectuals as well as artists, a disfavored combination throughout most of American art history: Artists weren't supposed to think about the implications of what they were doing, or the overall context in which it appeared.

Symposium subjects included, among other things, discussions of Alfred Stieglitz as a major proponent and supporter of early American Modernism, the ways in which art critic Clement Greenburg's definition of Modernism shaped thinking about this issue for generations yet was exclusive to issues of race, gender and politics, the role of photography figured prominently into the dissemination of the term «modern,» and the many ways photography has played a major role in shaping the history of Modernism in America.

People tend to think of anthropology as being a very distinct practice from art or art history, but they are extraordinarily close: artists, curators, and anthropologists are all looking at cultural phenomena and particularly at objects and their use, and what that says about society at large.

A collection of readings, thoughts, and commentary on the arts, history, and culture, every post is packed with quotes, attributions, and links — both to her own previous posts as well as other sources where readers can purchase the book being quoted or read more deeply about a subject.

Dorman notes: «When I'm working, I don't think about my location in art history or in today's art world.

The exhibition's artists, through expanding and redefining their respective mediums, have by consequence reshaped how we think about social and gender politics, the environment, and the role institutions play in shaping art history.

Whether through the lens of architecture, art, cultural industries, history or literature, dialogicCENTRALsolutions focuses on discussing new approaches on thinking about Central America.

I'm really thinking now about the history of the White Gallery at UCLA, and what does it mean that the Hammer Museum is 25 years old, and how can we represent the history of Los Angeles, which still is underrepresented in places like the Museum of Modern Art, when in fact it is the place for artistic production in the country right now.

But that faint brush with art history suggests that Elahi is thinking about his visual output not only in the context of the surveillance state but the history of image making writ large, and his multiple - channel video piece «Fenester» reveals an awareness that, in hindsight, feels like it might've present in his work from the very beginning: the long shadow of Gerhard Richter.

In my attempt to learn how to see as well as develop my language in painting, I am thinking about the studio as a library of personal history and interests and how those objects and collections relate to my art history lineage.

-- Adrienne Baxter Bell, associate professor of art history at Marymount Manhattan College and author of George Inness and the Visionary Landscape «Richly illustrated, this thoroughly modern painting guide invites painters working in every medium, style, and subject matter to pull up an easel or open a sketchbook to explore new and different ways to think about painting.»

Where as a figurative work of art might allow every viewer to engage with it on the same level by referencing some aspect of history or life with which we are all familiar, an abstract artwork requires that every viewer that sees it begins anew, using their thoughts and feelings to arrive at some conclusion about what it could possibly mean.

If you answered put together a show about General George Washington's aide - de-camp and right - hand - man, you'd have had the same thought as The Albany Institute of History and Art.

«Especially now, at a time when some of these basic values are being challenged, it's really interesting to dive back into thoughts about learning and why art is important, and Black Mountain is one of those times in history where we veered very close to something quite essential.»

As the first in a series of periodic, curated exhibitions of temporary public art located in the city's historic sites and museums, the City of Alexandria Public Art Program invited DC - based artist Sheldon Scott and the Baltimore - based artist team of Lauren F. Adams and Stewart Watson to create research - based, thought - provoking temporary public artworks that foster exploration and dialogue about Alexandria's rich history located in Gadsby's Taveart located in the city's historic sites and museums, the City of Alexandria Public Art Program invited DC - based artist Sheldon Scott and the Baltimore - based artist team of Lauren F. Adams and Stewart Watson to create research - based, thought - provoking temporary public artworks that foster exploration and dialogue about Alexandria's rich history located in Gadsby's TaveArt Program invited DC - based artist Sheldon Scott and the Baltimore - based artist team of Lauren F. Adams and Stewart Watson to create research - based, thought - provoking temporary public artworks that foster exploration and dialogue about Alexandria's rich history located in Gadsby's Tavern.

At their most successful, exhibitions can change the way we think — not only about the art on show, but about ourselves and our history.

I still get this weird feeling when I think about it... I've also noticed there are a lot of paintings throughout art history with similar deformities.

The complexity of her imagination and her meticulous command of art history have caused her silhouettes to cast shadows on conventional thinking about race representation in the context of discrimination, exclusion, sexual desire, and love.

What is distinctive about Sean Scully is that his work is absolutely contemporary, insists on individual consciousness and independent thinking, and is able to explore and express the essential power of the inner consciousness and of the external world in such a way as to make a really valuable contribution to the life and the history of art in a tempestuous time.»

«I look forward to delving into this exceptional collection, and to building on the work my colleagues have already started, exploring narratives that expand how visitors think about the history of American art, both in New England and beyond,» Corrales - Diaz said in a statement.

That 2007 «High Times, Hard Times» show [at the National Academy Museum] was a great revelation to me and a lot of my peers, and got me thinking about the master narratives of art history more, and how much stuff gets left out by strict ideals.

As far as how this fits into a contemporary context of the history of art, I'm not sure, but I think I have stopped worrying about it.

We talk to Denver Art Museum curator Gwen Chanzit about her important exhibition, speak with the artist Judith Godwin — an Abstract Expressionist who has largely been ignored in the history books, I travel to the Upper West Side to get feminist art historian Linda Nochlin's thoughts on the matter, and finally I chat with curator and critic Karen Wilkin, who was friends with Helen Frankenthaler (one of the leading Abstract Expressionist artistArt Museum curator Gwen Chanzit about her important exhibition, speak with the artist Judith Godwin — an Abstract Expressionist who has largely been ignored in the history books, I travel to the Upper West Side to get feminist art historian Linda Nochlin's thoughts on the matter, and finally I chat with curator and critic Karen Wilkin, who was friends with Helen Frankenthaler (one of the leading Abstract Expressionist artistart historian Linda Nochlin's thoughts on the matter, and finally I chat with curator and critic Karen Wilkin, who was friends with Helen Frankenthaler (one of the leading Abstract Expressionist artists).

Courtney J Martin, assistant professor of the history of art and architecture at Brown University, Rhode Island, talks about her longstanding relationship with Ryman's work, and how the exhibition will encourage viewers to think about the artist's output within a broader context.

About Blog The blog of the Journal of the History of Ideas, committed to diverse and wide - ranging intellectual history.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political tHistory of Ideas, committed to diverse and wide - ranging intellectual history.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thistory.The JHI defines intellectual history expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thistory expansively and ecumenically, including the histories of philosophy, literature and the arts, the natural and social sciences, religion, and political thought.