Coined by Russian painter Kazimir Malevich in 1915, Suprematism declared a break with
traditional modes of representation, embracing geometric abstraction and aiming to revolutionize artistic practice with an autonomous visual language of «pure artistic feeling.»
Artists sought to criticize
traditional modes of representation, mainly government - commissioned religious and allegorical works, by blending elements of high and low culture and incorporating parts of newly modernized quotidien life in their works.
Halasz offers contemporary insight to seemingly
traditional modes of representation.
As a contemporary artist who deliberately chooses to work within the parameters of a traditional genre and to employ
a traditional mode of representation, my challenge is to create work that embraces tradition (which I'm convinced remains vital and relevant for our time) while simultaneously transcending the sense of nostalgia often attributed to it.
Not exact matches
Conceived as an adjunct to painting in the earliest years
of its development in the first decades
of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy
of its own (albeit one that often still took its cues from
traditional painterly
modes of representation).
Similar to the way Manet initiated a new freedom from
traditional subjects and
modes of representation, each work featured in the exhibition intentionally takes the landscape genre as a way to capture a contemporary state
of being.
Wiley's larger - than - life figures disturb and interrupt tropes
of portrait painting, often blurring the boundaries between
traditional and contemporary
modes of representation and the critical portrayal
of masculinity and physicality as it pertains to the view
of black and brown young men.
She often strips her subjects
of their original contexts, working with — while often transgressing and deconstructing —
traditional Western
modes of representation.
The content
of her work meanwhile questions conventional
modes of filmmaking: linear narrative is passed over for a circular approach, and recurrent themes — investigations
of time, duration, and the act
of seeing — favor visual explorations instead
of traditional representation.
In contrast to leading conceptual art practices
of the 1970s, Clemente refocused attention on
representation, narrative, and the figure, and explored
traditional, artisanal materials and
modes of working.
In each canvas, he has layered abstract images,
traditional European painting, warped cartoons and the front - seated trompe l'oeil figurine creating a visual assault that begs the viewer to grapple with the hierarchies within
modes of representation — high and low.
Often blurring the boundaries between
traditional and modern
modes of representation, he emphasizes the established portrayal
of masculinity and physicality connected to the
representation of black young men.
This session examines how digital and analog reproduction technologies, holographic re-creations, manipulated selfies, virtual reality, and alternative camera - lens
representations are philosophically changing
traditional modes of portraiture — and even «being» itself.
The artists included in this exhibition furthered this mission by abandoning
traditional art - making practices in favor
of new
modes of representation.