Sentences with phrase «twentieth century self»

The gallery also has a specialty in works by twentieth century self - taught artists.

Not exact matches

The insight that the self is a field of feeling or a field of awareness has occurred, not only in Zen or in process thought, but also in twentieth century phenomenology.

Out of this «derangement,» Frank says, has come a «Great Backlash,» a movement of self - deluded conservative populism that in the end «may well repeal the entire twentieth century.»

The self of the twentieth century is a voracious nought which expands like the feeding vacuole of an amoeba seeking to nourish and inform its own nothingness by ingesting new objects in the world but, like a vacuole, only succeeds in emptying them out.

Has the twentieth century's self - understanding really been basically a «voracious nought» emptying particular selves of all human content and leaving freedom as just another word for nothing left to lose?

Whitehead's view of reality expressed in his concept of the self is the most important philosophical defense of freedom and creativity in the twentieth century.

Our physicality involved a necessary self - preservation instinct that led to protection of one's own self or kind over against that which was defined as other — a view not too dissimilar from what Cornel West develops in the late twentieth century as the «normative gaze that tends toward universalization of one «s own kind to the detriment of otherness.

The motu proprio, he insists, «compromises thecoherence of the Church's self - understanding and threatens to reduce the liturgy to a simple matter of individual «taste» rather than what it is meant to be: an accurate reflection of what we believe as Catholic Christians who live in the twenty - first century»: for that, of course is utterly different from what Catholic Christians who lived in previous centuries (and in the twentieth century before the sixties) believed: hence, the absolute indefensibility of what he calls «this medieval rite».

Many of the events of the twentieth century have eroded human self - confidence and belief in progress.

Late - twentieth - century thinkers are rediscovering many things Augustine knew» that knowing begins with the self as a basic datum; that the knower tends to become what he or she knows; and that knowers «must be roused and shaken up from time to time if [they are] to pay real attention once again.»

Yet Romanticism's sharp antithesis of the individual's creative self - fashioning on the one hand and political, social, and religious norms on the other also sowed the seeds for variously existentialist, hedonistic, and nihilist programs that bear much responsibility for the devastations wrought throughout the twentieth century and into our present.

In the early twentieth century, Indian Christians demonstrated this goal of self - propagation through the Madura Church Council's initial emphasis on every church member as an evangelist; and in the growing leadership of Indian teachers, doctors, nurses, and administrators in Christian institutions like schools and hospitals.

«40 In short, the same themes that allow Whitehead to overcome the Kantian split between noumena and phenomena (and this by itself is one of the greatest achievements of twentieth century philosophy) also tend to support — or at least to allow — the self - centered aspects of the Cartesian ego.

Finally, one can not explain the change in attitudes without referring to the sometimes unacknowledged achievements of the ecumenical movement that began with the twentieth century and to which many self - styled evangelicals and the Roman Catholic Church itself were latecomers.

To help the contemporary seeker reach an experience of meditation, self - observation and inner stillness more quickly, Osho, the twentieth century Indian mystic, created several active meditation techniques.

The little - known story of a self - taught prodigy and world - class trombone player, composer, and arranger whose music mirrors the black musical sounds of the twentieth century.

A self - made man who tried an end run around early - twentieth - century racism, Long Lance lied about his age to get into an important Indian school and kept right on inventing himself.

The self - publishing of various vanity presses in the twentieth century, and earlier, bears almost no comparison to the product being marketed by so many savvy and dedicated self - publishing authors in this new time.

Quadrilateral Cowboy is self - described as a «Twentieth Century Cyberpunk» game, which means lots of hacking.

Visionary Agency: Grandma Moses, Agnes Pelton, Jay DeFeo and Twentieth - Century American Art Chair: Erika Doss, Ph.D., Professor American Studies, University of Notre Dame Speakers: Elizabeth Ferrell, Ph.D., Assistant Professor, Arcadia University and Katherine Jentleson, Ph.D., Merrie and Erika Doss, Ph.D., Professor American Studies, University of Notre Dame and Dan Boone Curator of Folk & Self - Taught Art, High Museum of Art, Atlanta

The Group of Seven were self - proclaimed modern artists who became the most important Canadian artists of the early twentieth century.

Audrey is a leading collector of works by self - taught artists of the twentieth and twenty - first centuries.

Deleget is best known for paintings that self - consciously sample, pay homage to, and subvert the history of twentieth - century abstract and minimalist painting.

The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the Artist» brings together self - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrself - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar CelebrSelf Conscious; Institutional Complex and Postwar Celebrity.

«Self» (14th October - 13th December) investigates developments in self - portraiture in the twentieth and twenty - first centuries through the work of the four artiSelf» (14th October - 13th December) investigates developments in self - portraiture in the twentieth and twenty - first centuries through the work of the four artiself - portraiture in the twentieth and twenty - first centuries through the work of the four artists.

This year, we'll see more than a dozen self - taught artists including a retrospective of Carlo Zinelli, one of the world's most significant self - taught Italian artists of the twentieth century (according to the press release).

Kessler's work since the»80s has been aligned with the tradition of kinetic sculpture and assemblage that emerged in the early twentieth century — such works as Marcel Duchamp's Rotoreliefs, Moholy Nagy's time / space modulators and Yves Tinguely's self - destructive machines are obvious sources — but filtered through the erratic, jury - rigged aesthetic of artists like Robert Rauschenberg and the improvised, makeshift special effects of B - filmmaker Ed Wood.

Tracing the Century has at its heart artworks based on the human body and the inner self, opening up the conversation between figuration and abstraction that characterised art in the twentieth cCentury has at its heart artworks based on the human body and the inner self, opening up the conversation between figuration and abstraction that characterised art in the twentieth centurycentury.

For a self - styled matriarch, Bourgeois has made some of the most approachable art of the twentieth century.

In 1974, Harold Rosenberg, one of Saul Steinberg's earliest and most eloquent supporters, wrote that «Cubism... which in the canon of the American art historian is the nucleus of twentieth - century formal development in painting, sculpture and drawing, is to Steinberg merely another detail in the pattern of modern mannerisms; in a landscape, he finds no difficulty in combining Cubist and Constructivist elements with an imitation van Gogh «self - portrait.

Regarded as one of the watershed events in the history of African American twentieth - century folk, self - taught, and outsider art, the Corcoran exhibition validated art of non-academically trained African Americans within the art mainstream and, unsurprisingly, galvanized the market for the artwork of these individuals.

He associates the aesthetic — and therefore political — self - determination of Percy's House of Style with De Stijl, an early twentieth - century avant - garde movement.

A self - described «collector of souls,» Alice Neel is celebrated for almost single - handedly reviving the art of portraiture in the twentieth century, although she preferred the term «paintings of people» to that of «portrait.»

Part I juxtaposes A.M. Duggan - Cronin's early twentieth century ethnographic project of portraits and «native types,» set outdoors, with Santu Mofokeng's «counter-archive» of largely self - conscious modern African sitters posing in the studio.

Twentieth — Century Painting and Sculpture: Selections for the Tenth Anniversary of the East Building, National Gallery of Art, Washington, D.C., 1989 (Catalogue) Image World: Art and Media Culture, Whitney Museum of American Art, New York, November 8, 1989 — February 18, 1990 (Catalogue) Contemporary Woodblock Prints, Jersey City Museum, New Jersey, December 6, 1989 — March 3, 1990 (Catalogue) Seattle: Before and After, Center for Contemporary Art, Seattle, October 5 — November 27, 1989 Artist of the South Fork, Baruch College Gallery, City University of New York, September — November 3, 1989 Robert Bechtle, Chuck Close, Robert Cottingham, Malcolm Morley, Sigmar Polke, Pat Hearn Gallery, New York, September 16 — October 7, 1989 Personae: Contemporary Portraiture and Self — Portraiture, Islip Art Museum, East Islip, New York, September 10 — November 5, 1989 Art in Place, Whitney Museum of American Art, New York, July 7 — October 29, 1989 Contemporary Art from the Chase Manhattan Bank Collection, The Yokohama Museum of Art, Japan, June 18 — October 1, 1989 First Impressions, Walker Art Center, Minneapolis, June 4 — September 10, 1989.

Narcissus: Twentieth - Century Self - Portraits.

Traveled to: The Bunkamura Museum of Art, Tokyo, June 13 — August 16, 2009; Hyogo Prefectural Museum of Art, Kobe, Japan, August 25 — November 3, 2009 (Catalogue) Reflections / Refractions: Self - Portraiture in the Twentieth Century, National Portrait Gallery, Smithsonian Institution, Washington, D.C., April 10 — August 16, 2009 (Catalogue) Pop Up!

Self - Portrait Today, The Museum of Modern Art, Saitama, Japan, 1985 37th Annual Purchase Exhibition Hassam and Speicher Fund, American Academy and Institute of Arts and Letters, New York, 1985 Nude, Naked, Stripped, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, December 13, 1985 — February 2, 1986 AIDS Benefit exhibition: A Selection of Works on Paper, Daniel Weinberg Gallery, Los Angeles, November 9 — 30, 1985 American Realism: Twentieth Century Drawings and Watercolors, San Francisco Museum of Modern Art, November 7, 1985 — January 12, 1986.

«I, Myself & Me: Twentieth Century and Contemporary Self Portraits.»

1992 Picturing Paradise: The Rain Forest at Risk, Fernbank Museum of Natural History, Atlanta, USA Summer Group Show, Texas Gallery, Houston, USA Documenta IX, Kassel, Germany Quotations, Aldrich Museum of Contemporary Art, Ridgefield, USA; Museum of Contemporary Art, Dayton Art Institute, USA Painting, Self Evident: Evolutions in Abstraction, The William Halsey Gallery, Simons Center for the Arts, College of Charleston, Charleston, South Carolina, USA (Exhibition on view here and simultaneously at two other venues, The Meddin Building and the Gibbes Museum of Art, during the Spoleto Festival) Summer Group Exhibition, Ginny Williams Gallery, Denver, USA Slow Art, P.S. 1 Museum, Long Island City, New York, USA Selective Vision, TransAmerica Corporation, San Francisco, USA Psycho, Kunsthalle, New York, USA (Inaugural exhibition curated by Christian Leigh) Allegories of Modernism: Contemporary Drawings, Museum of Modern Art, New York (2/16 — 5/5/92) Twentieth Century Prints of the East End, Renee Fotouhi, East Hampton, NY

The self - taught painter, who was born in Italy in 1896 and moved to São Paulo's Cambuci neighborhood in 1898, is perhaps the most beloved Brazilian artist of the twentieth century — but remained little known outside of Latin America until now.

Famed for his self portraits, which rival Rembrandt and Picasso for intensity of conception and scrutiny, Max Beckmann (1884 - 1950) towers over German painting of the first half of the twentieth century, providing German modernism with one of its most personal visions and also inspiring a subsequent generation of American painters (Philip Guston, Nathan Oliveira).

Martín Ramírez: The Last Works Essays by Brooke Davis Anderson, Richard Rodriquez, and Wayne Thiebaud 160 pages, $ 39.95 136 full - color illustrations Pomegranate, 2008 Considered one of the self - taught masters of twentieth - century -LSB-...]

Throughout the twentieth century, the raw, instinctive approach of self - taught artists has quietly attracted acclaimed «contemporary» artists, collectors with keen eyes and in more recent decades, insightful museum curators, who bring this material to the public eye.

Light was also shed on sociohistorical and historico - cultural subjects such as «Shopping — A Century of Art and Consumer Culture,» «Privacy,» the visual art of the Stalin period, or New Romanticism in contemporary art; other presentations revealed the influence of Charles Darwin's theories on art of the nineteenth and twentieth centuries, or the intriguing causalities between artists of the modern era and self - proclaimed «prophets» of this period.

Visual creativity in the twentieth century could be said to have been a series of — isms and art movements dominated by the great, self - promoting names of the age (Picasso, Dalí, Warhol).

The artist is particularly interested in the social and political legacies of cinema; by revisiting twentieth century revolutionary movements through their cultural manifestations, Jones proposes that new forms of collective action and self - representation may yet be possible.

Seizing on the blankness as the very thing to see, he joins the poet Wallace Stevens in voyaging through the God-less realms where it is left to the hapless twentieth - century self, embarked on its own idiotic quest, to discern the difference between the «Nothing that is not there and the nothing that is.»

He is the most self effacing British painter of the twentieth century, abandoning figurative painting in 1947, when he was 39, in favour of the abstract, behind which he concealed himself for five decades.

2001 The First 10 Years: Selected Works from the Collection The Irish Museum of Modern Art, Dublin, Ireland Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York, NY Summer Reading, the Recreation of Language in Twentieth - Century Art, The Frances Loeb Art Center, New York The Art of War and Peace, American Visionary Art Museum, Baltimore, MD Let it Shine: Self - Taught Art from the T. Marshall Hahn Collection, High Museum of Art, Atlanta, GA La Planète exilée, art brut et visions du monde, Lille métropole musée d'art moderne, d'art contemporaine et d'art brut, Villeneuve - d'Ascq, France