Sentences with phrase «twentieth century art where»

For the last four decades Perlstein has been building a collection addressing key moments in twentieth century art where the understanding contemporary art has been stretched and reworked by artists.

Not exact matches

The twelve - song album includes nineteenth - and twentieth - century bluegrass classics, such as Jefferson Hascal's «Angel Band» (prominently featured in the Cohen Brothers» O Brother, Where Art Thou?)

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.

Where it overlaps, of course, is the role of British artists in the twentieth century, and the mark that international artists have made on British art in the time they've spent here.

In Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, Copeland focuses on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, and considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernArt, Slavery, and the Site of Blackness in Multicultural America, Copeland focuses on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, and considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernart in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concernart history where the subject of race is concerned.

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.

In 1997 Hopps organized a Robert Rauschenberg retrospective for the Menil Collection, the Museum of Fine Arts, Houston, and the Solomon R. Guggenheim Museum in New York (where he held the title of Adjunct Senior Curator of Twentieth - Century Art).

The privately - owned Käthe Kollwitz Museum in Berlin, dedicated to the legacy of the twentieth - century German artist, was forced to find a new home after the landlord of the building where it currently resides decided to end its lease, Catherine Hickley of the Art Newspaper reports.

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.

That was the challenge undertaken this summer by the Pennsylvania Academy of the Fine Arts (PAFA), where its curatorial team, which includes a trio of experts in eighteenth, nineteenth, twentieth, and twenty - first century art, collaborated to rethink the themes and layouts of the galleries through 1950.

While this term is often associated with American painting, specifically Abstract Expressionism and Color Field painting, Declaring Space addresses this concept from an international viewpoint, blurring national labels for a set of spatial themes that were evoked in abstract art in the latter half of the twentieth century, where the boundaries of traditional pictorial space were crossed and a new realm of abstract theater was engaged.

Nigel Cooke holds a doctorate in Fine Art from Goldsmiths, London, where he wrote a thesis on the death of painting in the twentieth century.

In 1997 Hopps organized a Robert Rauschenberg retrospective for the Menil Collection, the Museum of Fine Arts, Houston, and the Solomon R. Guggenheim Museum in New York (where he held the title of adjunct senior curator of twentieth - century art).

From 2006 — 2013 she was The Robert Lehman Foundation Chief Curator of Drawings at The Museum of Modern Art, New York where she co-curated the first major Lygia Clark retrospective in the United States (2014) and «On Line: Drawing Through the Twentieth Century» (2010).

Beginning her career at Josh Baer Gallery, she teamed in 1992 with Michael Rosenfeld of Michael Rosenfeld Gallery, where she has organized significant exhibitions that have explored the depth and breadth of twentieth - century American art.

The best job he ever had (before Legal Writing Pro, of course) was at the Peggy Guggenheim Collection in Venice, where he gave tours of the museum's collection of twentieth - century art and bartended at receptions in its spectacular garden.