Sentences with phrase «twentieth century art at»

Not exact matches

At the turn of the twentieth century, Benjamin F. Pearson, Edison's General Superintendent, came back from an excursion to Germany with a state - of - the art camera lens and the intention of making pictures of every Edison facility.

A top - notch actress who managed to remain a complete unknown as far as the general moviegoing public was concerned (spending over a decade starring in numerous art - house flicks for ex-husband Nicolas Roeg probably had a lot to do with that), Theresa Russell enjoyed a soupçon of mainstream success when she co-starred in Twentieth Century Fox's production of Black Widow, an ever - so - modest box office hit ($ 25 million) back at the start of» 87.

-- Neil Printz, art historianNo artist of the second half of the twentieth century was more famous — or in the end more famously misunderstood — than Andy Warhol: at once the most accessible and enigmatic, straightforward and elusive, naive and savagely ironic artist of his time.

PHILADELPHIA, PA - MARCH 10: «Rocky» Director John G. Avildsen Receives City Of Philadelphia Special Citation in celebration of the 90th Anniversary of Metro - Goldwyn - Mayer Studios and the release of THE ROCKY HEAVYWEIGHT COLLECTION on 4k Blu - ray from Twentieth Century Fox Home Entertainment, at Philadelphia Museum of Art on March 10, 2014 in Philadelphia, Pennsylvania.

After earning a B.F.A. in Film from NYU's Tisch School of the Arts, he worked in the film industry before moving to the U.K., where he completed a doctorate in Twentieth - Century English Literature at the University of Oxford.

Just four inches square, each title combines text and art for a delightful peek at such topics as Elvis and American Art of the Twentieth Centuart for a delightful peek at such topics as Elvis and American Art of the Twentieth CentuArt of the Twentieth Century.

In fact, at one point in the early twentieth century, dogs that were represented in art and entertainment as the classic family canine often looked like the pit bull terriers that we see today in our society.

with text by Yve - Alain Bois and Rosalind Krauss, in French) Screen, Friedrich Petzel Gallery, New York, USA (curated by Joshua Dechter) Twentieth Century American Sculpture at the White House: Exhibition IV, The Jaqueline Kennedy Garden, The White House, Washington D.C., USA (curated by Marcia Tucker and Hillary Rodham Clinton) Bringing It All Back Home, Gracie Mansion / Fred Dorfman Projects, New York, USA Small Truths: Repetition and the Obsessional in Contemporary Art, John Hansard Gallery, University of Southampton, England (cat.

AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.

Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2) Americans in Paris: Abstract Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).

I first encountered Stettheimer's paintings at the Metropolitan Museum of Art, about four years ago, while meandering through a survey of twentieth - century American painting cobbled together from the museum's holdings.

Not every painter is feted with a show at the premier museum of twentieth - century art, as well as concurrent exhibitions at prestigious galleries like Michael Werner and Knoedler & Company.

Fast - forward to the twentieth century and this year's installation at New York's Center for Italian Modern Art.

These works were recently exhibited in this configuration at the Centre Georges Pompidou in Paris as part of their large - scale survey of twentieth - century performance art entitled, «Hors Limites».

1990 Line & Action, Tavelli Gallery, Aspen, Colorado (December 21, 1990 — January 25, 1991) Group Exhibition, Manny Silverman Gallery, Los Angeles (December 3, 1990 — January 26, 1991) Road to Victory, Museum of Modern Art, New York (December 1990 — March 1991) Contemporary Works from the Collection, Museum of Modern Art, New York (November 1990) Abstract Expressionists: Studio 35 Downtown — Willem De Kooning, Hans Hoffman, Franz Kline, Lee Krasner, Joan Mitchell, Robert Motherwell, Jackson Pollock, Stux Modern, New York (October 3 — November 1) Color in Art: American Expressionism from the Mid — Twentieth Century to the Present, Samuel P. Harn Museum of Art, University of Florida at Gainesville (September 22 — December 2) Künstlerinnen des 20.

Adventures of the Black Square, Abstract Art and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive form (in this exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a new art starting in Russia and Northern Europe in the early twentieth centuArt and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive form (in this exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a new art starting in Russia and Northern Europe in the early twentieth centuart starting in Russia and Northern Europe in the early twentieth century.

There has never been a better year to look at the work of Kazimir Malevich, a pioneer of abstract art often seen as the greatest Russian painter of the twentieth century.

The first major exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiArt, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiart and painting.

He was responsible for the development and co-curatorship of special twentieth century auctions such as Looking Forward to the Past, 2015, a sale that included Pablo Picasso's Les Femmes d'Alger (Version 0), 1955, which sold for $ 179.4 million and set a record as the highest price ever achieved for any work of art at auction.

A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth - Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic.

Ireson has also lectured extensively around the world on impressionist, post-impressionist, and early twentieth century art, and has taught at the Courtauld Institute of Art, Londart, and has taught at the Courtauld Institute of Art, LondArt, London.

Hefuna's work was recently featured in the exhibition On Line: Drawing Through the Twentieth Century at tartistshe Museum of Modern Art.

I am a PhD candidate studying the history of twentieth - century American art at the University of Delaware.

So, it's absolutely right that British artists are represented in the narrative that Tate Modern offers of twentieth century art, and it would be impossible to tell a story of six centuries of British art at Tate Britain without representing the contributions of foreign - born artists, which to begin with are largely artists from Flanders and the Dutch republic.

2000 Bob Thompson and Jan Muller, Lori Bookstein Fine Art, New York, NY African - American Art: 20th Century Masterworks, VII, Michael Rosenfeld Gallery, New York, NY; Appleton Museum of Art, Florida State University and Central Florida Community College, Ocala, FL Michael Rosenfeld Gallery: The First Decade, Michael Rosenfeld Gallery, New York, NY The Figure, Another Side of Modernism, Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Staten Island, NY Twentieth - Century American Art: The Ebsworth Collection, National Gallery of Art, Washington DC; Seattle Art Museum, Seattle, WA Search for the Unicorn, Lori Bookstein Fine Art, New York, NY

American Art Students learn to look at visual imagery through an exploration of American paintings, sculpture, and decorative arts representing the colonial period, the Revolutionary and the Civil Wars, westward expansion, the early twentieth century, and the contemporary moment.

I was just in Boston at the Museum of Fine Arts and in one of the twentieth century galleries there were three of your paintings.

The exhibition looks at the shifting moment in twentieth - century art, when a group of artists began to perceive colour as «readymade» rather than as scientific or expressive.

So we jumped at the chance to co-sponsor, with the Denver Art Museum, the exhibition Modern Masters: Twentieth Century Icons from the Albright - Knox Art Gallery, which featured the greatest artists from the twentieth century, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and ClyffoTwentieth Century Icons from the Albright - Knox Art Gallery, which featured the greatest artists from the twentieth century, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and ClyffordCentury Icons from the Albright - Knox Art Gallery, which featured the greatest artists from the twentieth century, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and Clyffotwentieth century, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and Clyffordcentury, including (among many others) Pablo Picasso, Frida Kahlo, Jackson Pollock, Mark Rothko, Willem de Kooning, and Clyfford Still.

At once paradoxical and coalescent, the Colour Charts highlight an important moment in the artist's career and are situated across multiple leading art movements of the twentieth century.

1995 Pasted Paper: Collage in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, CA

She is a PhD candidate in Art History at Virginia Commonwealth University, specializing in Twentieth Century and African art, and held the Thalhimer Research Assistantship for the 2015 - 2016 academic yeArt History at Virginia Commonwealth University, specializing in Twentieth Century and African art, and held the Thalhimer Research Assistantship for the 2015 - 2016 academic yeart, and held the Thalhimer Research Assistantship for the 2015 - 2016 academic year.

Grupo Frente arrives at a time of increasing attention to Latin American artists and their often overlooked contributions to twentieth century art.

Rasuchenberg, Stella, Spero — introducing New York Masters, a new video series for which art historian and curator Robert Storr discusses New York's art history, and the some of the city's influential twentieth century artists represented at Frieze New York 2017.

Caitlin Swindell received a master's degree in art history from the University of North Carolina at Chapel Hill (2016) where she focused in modern and contemporary American art and twentieth century African - American art.

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art JournArt in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journart of the early twentieth century for Art JournArt Journal.

Throughout the twentieth century and accelerating with the rise of conceptualism and Michael Fried's prediction of the end of art, or at least the death of painting, critics, curators, and historians have questioned the validity of the medium while artists have continued to paint.

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, «In the Studio: Paintings,» exhibited at 522 West 21st Street, spanned from the mid-sixteenth through the late twentieth centuries and included over 50 paintings and works on paper by nearly 40 artists.

Last week, the New York Studio School hosted members of the Center for Italian Modern Art (CIMA) for an interesting talk on one of the greatest Italian painters of the twentieth century: Giorgio Morandi — the subject of the current exhibition at CIMA, on until June 25th.

The imaginary telepathy in the art of the twentieth century» at the Center Pompidou Metz (2016).

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (201art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (201Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (201Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (201Art of the 20th - 21st Centuries (2017).

One of the most significant Korean artists of the twentieth century, Yun Hyong - keun (1928 - 2007) was born in Seoul and received his BFA from the School of Fine Arts at Hongik University in 1957.

His work helped shape the aesthetics of French art at the turn of the twentieth century and formed the cornerstone of the international Art Nouveau movemeart at the turn of the twentieth century and formed the cornerstone of the international Art Nouveau movemeArt Nouveau movement.

Both rooms, Broodthaers explained when they were originally installed at the Institute of Contemporary Arts in London in 1975, expose the «relationship of war to comfort,» but in the twentieth century room the suggestions of gentlemanly combat and worldly eclecticism have been replaced by cheaper furniture and more efficient artillery.

Her research examines the collision between American art and science at the locus of the human body, particularly during the late - nineteenth and early - twentieth centuries.

At the same time, she refuses to treat the work of black artists as an isolated phenomenon, instead drawing on a keen attention to cross-cultural aesthetics and a highly developed sensitivity to the formal properties of art objects to integrate their work into the broader artistic production of the United States in the twentieth and twenty - first centuries.

Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, «In the Studio: Paintings,» on view at 522 West 21st Street, spans from the mid-sixteenth through the late twentieth centuries and includes over 50 paintings and works on paper by nearly 40 artists.

Joe Brainard: A Retrospective reveals the creative genius of this important late - twentieth century American artist, and is curated by Constance Lewallen, Senior Curator at The University of California, Berkeley Art Museum and Pacific Film Archive, where it debuted.

Within this preoccupation with the copy, the metaphor of death is never far away, at least in reference to the late twentieth - century theory of the «death of the author,» which in more recent times has become nuanced by the notion that the ready - made and the copy are «original» art works after all.

He was the first curator of twentieth - century art at the Boston Museum of Fine Arts [3] and later the director of the Museum of Art Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters&raquart at the Boston Museum of Fine Arts [3] and later the director of the Museum of Art Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters&raquArt Fort Lauderdale (1987 — 1997), a position he left in order to attend to being the guiding light of the artist group he founded the «New New Painters».