Sentences with phrase «through modern images»
i wonder could that have something to do with the fact that your religion has no image of what your god was suppose to look like, or is it more along the lines your god can only express itself through modern images that the whole of your faith have imprinted into your minds?
http://religion.blogs.cnn.com/ Not exact matches
Dramatizing the trauma of expulsion from Paradise, Maine sometimes employs the cadences of the Old Testament («The sun rises and sets and does not change») and sometimes the concise, allusive conjunction of high and low that characterizes modern prose (as in the Babel image, or when Eve reflects on their vicissitudes «ever since their departure from the Garden to fight their way through this deathtrap called Creation»).
The media also carry the myth that the tremendous media avalanche of words, sounds and visual images that invade our lives through the media is part of the price we must pay for living in modern society.
wenegr is in the twilight years of his arsenal career now he might or might not see out the full term of his contract, i would image he wont give up but if he do nt get a big prize this season or next his desire might dwindle even more the board have seen what a shambles man united have gone through and the expense of failure, if they do nt get the next appointment right the board is trying to give themselves as much time to identify a replacement and in the correct time unless wenger leaves at short notice, i think if he had won the c / l all thought years ago we would be looking at a different story i think he would have left at the end if that contract as he would be at the peak of his powers and could of gone anywhere he like across europe, but he didn't win and here we are now, i respect the man for what he has done for us and english football a modern day herbert chapmen he is but even old chappy had his end of and era and wenger will have his end its just how will it play out hopefully a winner
essay on college athletes not getting paid ghostwriting services triethylene glycol ditosylate synthesis essay buy online college modern essay book The internet not only allows for communication through email but also ensures easy availability of information, images, and products amongst other things...
2018-04-08 16:07 essay on college athletes not getting paid ghostwriting services triethylene glycol ditosylate synthesis essay buy online college modern essay book The internet not only allows for communication through email but also ensures easy availability of information, images, and products amongst other things...
How to demonstrate the torrid depths of that marvelous, menacing slipstream through image and sound, through music and modern mayhem?
The timeline works well alongside other Historic England online resources, for example the teaching notes, presentations and activities exploring life in Bronze Age Britain through the exciting story of the recent excavation at Must Farm in Cambridgeshire; and a whole range of images for the period featuring archaeological sites around the country, tools and remains and modern reconstructions of homes and settlements.
The Christmas Art / Christmas Colouring Book has something for everyone with a nice blend of traditional and modern images from modern «mindfulness colouring style» images right through to old fashioned images of the nativity and Father Christmas and everything in between.
Through an indifferent camera and unaware subjects, Rafman's images both celebrate and critique our modern existence and our physical presence in the world.
American recording artist Kendrick Lamar's video Element recasts specific Gordon Parks images of social justice, poverty and politics through a modern lens.
Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York
Image: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel on canvas, Museum of Modern Art, New York, acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rockefeller Fund, © Pollock - Krasner Foundation / Artists Rights Society (ARS), New York and DACS, London 2015
Through a precise examination of this distinct form of artistic practice in works by artists ranging from John Cage to Sanford Biggers, this exhibition provides a unique perspective on the ways in which modern and contemporary artists have used language, objects, and images to forge social contracts with their publics.
To watch Mr. Zwirner flip through a binder holding images of the works is to travel through the last 25 years of modern and contemporary art, accompanied by quick bits on their historical importance from Mr. Zwirner, whose father, Rudolf Zwirner, was a prominent European dealer.
Surreal Dialogue: Works by Ji Yoon Hwang and Soyoung Kim, a new exhibition of painting and fabric installation works by two young Korean artists whose diverse, complimentary works explore the language of emotional discomfort in modern society through subtly unsettling images and tactile sensations.
The eclectic array of goodies on show spans geographies, cultures and civilizations, ranging from pre-historic shamanistic totems and early religious images of vision and ecstasy, through to modern works by Kandinsky, surrealist pieces by Miro and Man Ray, and specially installed works by Anish Kapoor and Marina Abramovic.
Image: Gerhard Richter, Lesende (Reading), 1994; oil on linen; Collection SFMOMA, Purchase through the gifts of Mimi and Peter Haas and Helen and Charles Schwab, and the Accessions Committee Fund: Barbara and Gerson Bakar, Collectors Forum, Evelyn D. Haas, Elaine McKeon, Byron R. Meyer, Modern Art Council, Christine and Michael Murray, Nancy and Steven Oliver, Leanne B. Roberts, Madeleine H. Russell, Danielle and Brooks Walker, Jr., Phyllis Wattis, and Pat and Bill Wilson; © Gerhard Richter
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...
2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London ArThrough Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Arthrough me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.
Originally published in 2010 on the occasion of Dumas» first solo presentation at David Zwirner in New York, this much sought - after exhibition catalogue — which sold out shortly after publication — has been reprinted in 2014 to coincide with the artist's European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel traveling through 2015.
In an adjoining gallery, selections from Thomas» current series, Branded, are on view; a critique of the hyper - masculine tropes cycled through capitalist systems — images of NBA players used as figures that equate the exchange and labor of black bodies in major league sports, a type of «modern slavery.»
Photographing modern cityscapes and man made spaces through bird's - and worm's - eye perspectives and utilizing composite construction, his images destabilize the notion of photographic reality.
from In the Museum of Modern Art, Thinking Aloud in the Museum of Art Artist: Howard Hodgkin 1932 - 2017 Date: 1979 Classification: on paper, print Medium: Etching on paper Dimensions: image: 755 x 1003 mm Presented by E.J. Power through the Friends of the Tate Gallery 1980 © Howard Hodgkin
These donated images will be part of a video installation mounted on a truck — a modern, traveling version of a «magic lantern» projection — that will traverse the city of New Orleans from sundown on October 22, 2011 through sunrise the following day.
Through my images I was inspired to create striking juxtapositions between the ruins of modern civilization and a futuristic ecological utopia.
From 1985 through 1991 Anne Doran made slyly narrative wall - based sculpture from appropriated public images in wide circulation, using them to speak of the commodification of desire, the loss of self, and the dynamics of power relations in modern culture.
Exhibitions include Inverleith House, Edinburgh (2004); «Robert Therrien: Table and Six Chairs,» Public Art Fund, New York (2005); «A New Installation by Robert Therrien,» Albright - Knox Art Gallery, Buffalo, NY (2006); Museum of Contemporary Art, San Diego (2007); «Robert Therrien: Works on Paper,» Kunstmuseum Basel, Switzerland (2008); «Robert Therrien: Drawings,» Scottish National Gallery of Art, Edinburgh (2010); De Pont Museum, Tilburg, The Netherlands (2011); «Robert Therrien: Selections from the Broad Collection and the Los Angeles County Museum of Art,» LACMA, Los Angeles (2011); Albright Knox - Art Gallery, Buffalo, NY (2013); «Artist Rooms: Robert Therrien,» Tate Modern, London (2009, traveled to National Galleries of Scotland, Edinburgh; Tate Liverpool, UK; Metropolitan Arts Center, Belfast, Ireland; and Paxton House, Berwick - upon - Tweed, UK, through 2015); The Contemporary Austin, TX (2015); «Robert Therrien: The Power of the Image,» Denver Art Museum, CO (2016); and «Robert Therrien: Works 1975 — 1995,» Parasol unit foundation for contemporary art, London (2016).
Through a combination of figuration, color, and form, he transformed scenes inspired by the the Old Masters into abstracted, allegorical images of modern American life.
This exhibition of new paintings combines iconography from Fifteenth through Eighteenth Century etchings and eerily modern images of anthropomorphic larvae, plants, and figures, reinforcing Immendorff's unique language in imagery.
IMAGE ABOVE: Installation view of Mariah Dekkenga and Josef Bull: We have never been modern, on view through July 19 at MASS Gallery in Austin.
Now on view at the Museum of Modern Art, this addicting and idiosyncratic 13 minute film explores various creations myths, through a dizzying display of modern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collecModern Art, this addicting and idiosyncratic 13 minute film explores various creations myths, through a dizzying display of modern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collecmodern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collections.
Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.
★ Museum of Modern Art: «A World of Its Own: Photographic Practices in the Studio» (through Oct. 5) This mostly lively if repetitive overview traces the history of photography as the Modern never has — with images taken in the studio rather than out in the world.
Debating Modern Photography: The Triumph of Group f / 64, on view September 30 through December 5, 2010, at the Portland Museum of Art, revisits this debate and includes images by photographers in Group f / 64 such as Ansel Adams, Edward Weston, Imogen Cunningham, Sonya Noskowiak, and Willard Van Dyke, as well as images by Pictorialists such as Anne Brigman, William Dassonville, Johan Hagemeyer, William Mortensen, and Karl Struss.
By depicting his subconscious anxieties through populist images of rural America, Wood crafted images that speak both to American identity and to the estrangement and isolation of modern life.
Using silkscreened mass media images, he also produced a series of illustrations for Dante's Divine Comedy, creating 38 Inferno drawings as a modern accompaniment to Dante and Virgil's journey through hell, substituting his own heroes - like Jackson Pollock and Willem de Kooning - for Dante's characters.
In addition to his Twitter - inspired portraiture, Masci will show his 2009 «Totem» series, comprised of images created from hundreds of digital files procured through Google searches and stacked to make a wildly emblematic statement on modern obsessions.
Spectacles without Objects explores — through text, images and sound recordings — specific occurrences of utopian performances in the past, way before the XXth century, before the moment Modern Art History usually assigns to the beginnings of performance art.
Municipal Gallery of Modern Art, Dublin Artist: Joseph Beuys 1921 - 1986 Date: 1974 Classification: on paper, print Medium: Print on paper Dimensions: image: 589 x 373 mm ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © DACS, 2018
Presented in 26 illustrated chapters, the focus here lies on the shattering of the linear narrative in the visual arts through the use of image - based work to articulate the speed and fragmentation of modern life.
Released earlier this month, Common's new album features a cover image designed by artist Lorna Simpson, who has a solo exhibition on view at the Modern Art Museum of Fort Worth through Jan. 15, 2017.
Evening in Kenwood, c 1934 Gelatin silver print The Museum of Modern Art Acquired through the generosity of David Dechman and Michel Mercure, and the Committee on Photography Fund All images © 2012 Bill Brandt Archive Limited
All images in this article are from Jay DeFeo: A Retrospective, San Francisco Museum of Modern Art, November 3, 2012 through February 3, 2013; and Whitney Museum of American Art, New York, February 28 through June, 2013.
The show features more than 40 original fine art prints including lithographs and etchings that chronicle daily life — the bustle of urban streets, boisterous moments of leisure, modern modes of transportation, and bucolic rural images — by leading artists who approached their subject matter through the lens of realism: George Bellows (1882 - 1925), Thomas Hart Benton (1889 - 1975), Edward Hopper (1882 - 1967), Martin Lewis (1881 - 1962), Reginald Marsh (1898 - 1954), John Sloan (1871 - 1951), Benton Murdoch Spruance (1904 - 1967), Stow Wengenroth (1906 - 1978), and Grant Wood (1891 - 1942).
Exhibitions: Saturday through Aug. 24, The Audrey Jones Beck Building, Masterworks on Paper from the Edward R. Broida Collection; Through June 15, Studio School student exhibition, The Glassell School of Art; Through June 29, Paris in the Age of Impressionism: Masterworks from the Musee d'Orsay, The Audrey Jones Beck Building; Through July 20, American Modern: 1920s and 30s Design, The Caroline Wiess Law Building; Through July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law Buthrough Aug. 24, The Audrey Jones Beck Building, Masterworks on Paper from the Edward R. Broida Collection; Through June 15, Studio School student exhibition, The Glassell School of Art; Through June 29, Paris in the Age of Impressionism: Masterworks from the Musee d'Orsay, The Audrey Jones Beck Building; Through July 20, American Modern: 1920s and 30s Design, The Caroline Wiess Law Building; Through July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law BuThrough June 15, Studio School student exhibition, The Glassell School of Art; Through June 29, Paris in the Age of Impressionism: Masterworks from the Musee d'Orsay, The Audrey Jones Beck Building; Through July 20, American Modern: 1920s and 30s Design, The Caroline Wiess Law Building; Through July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law BuThrough June 29, Paris in the Age of Impressionism: Masterworks from the Musee d'Orsay, The Audrey Jones Beck Building; Through July 20, American Modern: 1920s and 30s Design, The Caroline Wiess Law Building; Through July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law BuThrough July 20, American Modern: 1920s and 30s Design, The Caroline Wiess Law Building; Through July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law BuThrough July 27, Ellsworth Kelly: Red Green Blue, The Audrey Jones Beck Building; Through Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law BuThrough Aug. 10, For Robert: Images Given to Robert Frank by Other Artists, The Caroline Wiess Law Building; and through Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law Buthrough Aug. 17, James Rosenquist: A Retrospective, The Caroline Wiess Law Building.
Although the technology for transmitting printed images and texts over distance dates from the nineteenth century — a machine by Scottish mechanic Alexander Bain patented in 1843 — it was the introduction of the modern fax through commercially available machines in the 1970s that turned facsimiles into a ubiquitous communications medium for international business.
Richard Pettibone's playful compositions take as their material the canvases and images of contemporary and modern art, and through this appropriation his work explores questions of artistic authorship and the role of reproduction in the 20th century.
In making works that celebrate his mentors, he guides viewers through the intricacies of modern image - making, pointing out the pitfalls and underlining the strong points.»
Installation view of «Open House: The Modern Institute» on view at Jessica Silverman Gallery through March 3, 2018 (image courtesy of Jessica Silverman Gallery).