Sentences with phrase «vernacular forms in»

In an era of virtual neighborhoods and fast - paced Internet communication, The Spectacular of Vernacular addresses the role of vernacular forms in the work of 27 artists who utilize craft, incorporate folklore, and revel in roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art.

The Spectacular of Vernacular addresses the role of vernacular forms in the work of 26 artists who utilize craft, folklore and roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art.

It explores the role of vernacular forms in some 40 works by more than two dozen contemporary artists, which run the aesthetic gamut: the hand - crafted work of Aaron Spangler juxtaposes with Lari Pittman's carnivalesque day - glo paintings; Marc Swanson's glittering trophy heads with Rachel Harrison's urban relics.

Not exact matches

The poems in this case were canzoni, or odes, long lyrics of considerable artifice, which in De vulgari Eloquentia Dante claimed to be the highest possible literary form in the vernacular, lofty («tragic» is Dante's word for this) and serious.

The Saxon vernacular form «Luder» went appropriately with this personal note in German.

Though the DB11, introduced in 2016, was kissed with a touch of contemporary design language in the form of aerodynamic curlicues and a subtly pointed tail, it also kept a foot planted in the grand touring vernacular intended to satisfy the tweedy old world set.

The show presented a new body of work — formal studies of the female form, including large, expressive line paintings of the body rendered in blue paint on raw canvas — that marked a radical departure from Emin's vernacular up until that moment.

It periodizes and cross references artistic sensibilities in order to elicit multiple conceptual relationships, as well as breaks with prevailing binaries of center and periphery, vernacular and academic, urban and non-urban forms, indigenous and diasporic models of identification.

The sculpture in this show furthers the artist's use of vernacular craft forms and materials in abstract yet iconic objects.

Drawing on vernacular forms and collaborative and performative actions, the Iraqi - Kurdish artist makes work inspired by political events, chance encounters, oral histories, and his own experiences, including fleeing Iraq on foot in the late 1990s.

Romancing The Fragment presents works that are invested in materialist histories, reconstructing our vernacular visual languages in various forms, freezing its fragments and revealing our contemporary culture in ruin.

Without formal training (in Lockett's case, deliberately so) and working largely with found materials, Lockett, Dial, Holley and peers like Joe Minter took their visual language from traditional black Southern vernacular art forms like the scrap quilt and the yard show but adapted it to speak of personal philosophies, social issues and the African - American experience.

The introduction establishes the importance of Black artisans in colonial New Orleans and references the emergence of iconic cultural forms including jazz, vernacular architecture, politically significant moments in New Orleans history (Plessy v. Ferguson), and food.

Adam McEwen appropriates vernacular forms, from text messages and obituaries to everyday consumer objects, manipulating familiar items and repurposing them in new, unexpected contexts.

Nor have outsider or vernacular forms been included — no painted signs, houses, gold - framed oils made by bored suburbanites, or realistic landscapes made by Sunday painters in their community art, plein - air classes.

Drawing on vernacular forms and collaborative and performative actions, Iraqi - Kurdish artist Hiwa K (b. 1975, Sulaymaniyah, Iraq) makes work inspired by political events, chance encounters, oral histories, and his own experiences, including fleeing Iraq on foot in the late 1990s.

Phillipson excels in her use of vernacular forms and the ability to seize the language of spectacle, to produce playful irony and reveal deeper truths by amplification, repetition and saturation.

Already by the mid-1960s in screenprint and lithography Ruscha was exploiting the multiple meanings in signage (Hollywood, Standard gas stations) and other forms of text, with its innate ties to print, and making poetry of banal vernacular imagery.

Raised in a culturally rich community steeped in vernacular forms of creativity — bottle trees and fences decorated with eggshells — and characterized by a strong ethos of saving and recycling, Outterbridge was quite literally surrounded by used and discarded objects valued for their potential afterlife.

Birch's visual style, a form of conceptual Southern Vernacular painting, is a syncretic blend of representation and abstraction that utilizes African diasporic retentions — cultural traits that have persisted across history — to create a record of the past's symbolic traces on the present, in order to preserve them for the future.

They — along with many other artists whose works could easily have fit in this exhibition — are vernacular cosmopolitans of a kind, moving in - between cultural traditions, and revealing hybrid forms of life and art that do not have a prior existence within the discrete world of any single culture or language.

The notion of vernacular — a form of everyday parlance specific to a social group or region — manifests in his work through a graphic and discursive style developed in the context of globalized art production.

For this project, her second large - scale painting installation and first public artwork, Balco uses the vernacular of painting — form and color — to stage interventions in existing architectural spaces that transform the way we think about public and private space.

His practice also touches on vernacular forms, such as murals and comic books, in order to correct, in his words, the «vacuum in the image bank.»

Exploring the position of the artists who have been associated with a fixed social identity, the exhibition is structured around platforms that allude to a vernacular architectural wooden form used in hot climates to spend summer nights outdoors.

As an art form, painting was no longer an exercise in the tasteful sublime; the new painting approached vernacular idioms with an avant - garde thoughtfulness.

His research and eventual film work will explore how the influence of these committed intellectuals reverberated widely in the post-war cultural arena, eventually giving rise to an emerging discipline of «cultural studies», that, in its focus on popular art forms and vernacular traditions, posed considerable challenges to the established academic elite of that time.

However, most of this work springs from an expressionistically freeform compositional approach which, in the case of Martin, was unabashedly influenced by the vernacular forms of black Southern artists like Thornton Dial and Lonnie Holley, who had little choice but to employ the most abject of materials.

The vernacular wood frame of his Church at Head Tide (1938) exemplifies this concentration upon local forms: the black outlines surrounding the structure — increasingly prevalent in Hartley's work after the early 1930s — metaphorize this inward turning.

His work also touches upon vernacular forms such as the muralist tradition and the comic book, as seen in his comics - inspired Rythm Mastr drawings (2000 — present), in order to address and correct the «vacuum in the image bank» — in other words, to make the invisible visible.

Adam McEwen (1965) is an English conceptual artist, living and working in New York City, best known for his artworks that appropriate vernacular forms of everyday consumer products and objects and repurpose them in new, unexpected contexts.

Norton's project in PAFA's Historic Landmark Building uses paintings in the collection as sounding boards for a group of new works that reflect variously on issues like the historic portrayal of women in art, paternalism and colonialism, and the vernacular forms of folk culture.

In the common vernacular of corporate law, however, the «oppression remedy» is applied to 3 forms of mistreatment of shareholders.

Its most vernacular form is in comments made in the child's presence, derogating the other parent.