Sentences with phrase «visual traditions from»

Leigh's sculptural works in ceramic and other materials reference vernacular visual traditions from the Caribbean, the American South, and the African continent, as well as the black diasporic experience dating from the Middle Passage to the present.

Not exact matches

Schama's analyses of Rembrandt's paintings of biblical subjects (as well as of Rubens's commissions from Oratorians, Jesuits and other Catholic factions) reflect a sound knowledge of the visual and doctrinal traditions that shaped them.

Visual representations of chants from Native American, Muslim, Taoist and other traditions are the basis for illuminations of the Psalms.

Greek culture and language, the cultivation of the body, sex and family mores at odds with the traditions of Yahwism - Judaism, fascination with the visual arts — all of this Hellenistic world pressed in upon Judaism and Jerusalem and even infiltrated in the persons of regularly visiting Jews from communities outside Palestine.

From Cassie: Growing up Chinese, my parents found any visual depiction of Christianity to be idolatrous, which I believe is due to the fact that much of the trappings of high church tradition were too similar to the ancestor worship with which they grew up.

Aside from crisp visuals and no - fat way with martial arts movie traditions, the biggest achievement of the «Kung Fu Panda» movies is how they distill their star's very Jack Black - ness down to its most bearable form.

Meanwhile, home - movie - like visual textures from cinematographer Stéphane Fontaine and a thrillingly abrasive Mica Levi score enhance the immersive qualities of a movie that argues for the value of ritual, symbols, and tradition, even in the midst of unimaginable tragedy.

Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.

Portfolios in classrooms today are derived from the visual and performing arts tradition in which they serve to showcase artists» accomplishments and personally favored works.

The need to respond to our contemporary crisis shapes the visual structure of the film and whose origins spring from research into diverse historical narrative traditions within the Indian subcontinent.

Whilst Houseago's oeuvre can be seen as a continuation of a historical sculptural tradition, the unusual combinations of materials, the inclusion of references drawn from popular culture and the unusual interplay between two and three - dimensional elements, all challenge the hierarchy inherent within visual forms, and the materials and values associated with them.

In what I consider to be the strongest mainstream of American art, (continuing the powerful tradition that emanated directly from American artists like David Smith, Alexander Calder, Willem de Kooning, Franz Kline, Mark Rothko, Jackson Pollock, Stuart Davis, Edward Hopper, Milton Avery, Marsden Hartley, John Marin, Albert Pinkham Ryder, Clyfford Still, Robert Motherwell, Hans Hofmann, and others), American artists created painting and sculpture that explored and expanded the vocabulary and boundaries of visual expression.

Informed by elements of popular culture ranging from manga and anime to punk rock, Yoshitomo Nara fuses Japanese visual traditions and Western Modernism to create adorable but menacing characters that possess a startling emotional intensity.

Since 1979, he has worked prolifically as a visual artist, constructing sculptures from found materials in the oldest tradition of African American sculpture.

In removing the female figure from countless «masterpieces» of western art, Grove effectively demonstrated its lynchpin role — the voyeuristic impulse at the heart of an entire visual tradition.

The exhibition surveys SOM's long tradition of collaboration with visual artists and showcases models, drawings, and ephemera from projects created by Pablo Picasso, James Turrell, Jaume Plensa, James Carpenter, Janet Echelman, and Iñigo Manglano - Ovalle.

Motifs from Western and Eastern pictorial traditions are regularly referenced in his works, and we often find visual references to Medieval and Renaissance paintings.

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de Sao Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

Pursuing what she has called «new possibilities for portraying naturalism,» Singer's mode of painting brings together a mix of visual traditions that span the technologies of visuality, from the pre-photographic to the post-digital.

Equally drawn to the history of figurative sculpture as to a wide range of craft and artisan traditions around the world — from ceramic techniques to glass blowing, enameling to welding — Upritchard pushes these practices in new directions, bringing them together to create a striking and original visual language of her own.

California Mexicana: Missions to Murals, 1820 — 1930, demonstrates how a unique amalgam of Mexican and Anglo visual traditions created a profile for California distinct from any other U.S. state.

Covering a millennium of Islamic history in regions extending from Spain to India, this comprehensive exhibition surveyed the extraordinary range and visual virtuosity of one of the world's great artistic traditions.

The exhibition surveys SOM's long tradition of collaboration with visual artists and showcases models, drawings, and ephemera from projects created by Pablo Picasso, James Turrell, Jaume Plensa, James Carpenter, Janet Echelman, and I

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

2009 Sound: Print: Record: African American Legacies, University Museums, University of Delaware, Newark, DE Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art, The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, University of Maryland College Park, MD Highlights from The David C. Driskell Center Permanent Collection, The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, University of Maryland, College Park, MD

Drawn from the collection of Dr. Kurt Gitter and Alice Yelen Gitter, and guest - curated by noted Japanese - art scholar Joe Earle, the exhibition features 82 works by 40 artists, including three historic vessels illustrating both the chronological range of the collection, and a visual touchpoint for viewers to better understand the traditions referenced by modern and contemporary artists.

Jenny Holzer continues tradition of feminist artists from 1970s, dealing with the complex visual narratives and inscription of the women into language.

She draws inspiration from a variety of cultural and historical traditions and incorporates them into her glass beads using unique surface treatments to create depth and visual interest.

Often without formal training, and facing economic insecurity and racial discrimination, these artists created profound works from both conventional art media and cast - off materials, giving visual power to a highly developed vernacular tradition that enriches an alternative to conventional narratives of modern art.

Informed by elements of popular culture ranging from manga and anime to punk rock, Nara fuses Japanese visual traditions and Western modernism to create young characters that possess a startling emotional intensity.

The questions of repression, disenfranchisement, and resistance that dominate the lives of many people around the world are fused with lessons from US history, African spiritualism, and the rich visual traditions of Afro - diasporic art.

Tapping the traditions of documentary and conceptual photography, Leonard's project, which she developed during a residency at the Wexner Center in Columbus, Ohio, is positioned within the genealogy of the grand visual archives that extend from Eugène Atget's Paris «then and now,» to August Sander's Face of Our Time, to Bernd and Hilla Becher's typologies of vernacular architecture.

Rejecting tradition, they favored bold, abstracted forms that broke free from the illusion of depth, creating simplified and stylized landscapes that expressed their personal, subjective encounter with nature and response to the region, rather than trying to imitate the exact visual appearance of a location.

Samira Abbassy's self - portraiture and mixed - media sculptures explore cultural identity, knitting together disparate visual languages, conventions and myths drawn from Arab - Iranian, Persian, Muslim, Christian, Hindu, Jewish and Buddhist traditions.

«Visitors to Bouquets: French Still - Life Painting from Chardin to Matisse will appreciate not only the sheer visual splendor of the works on display, but also the discovery of a clear artistic dialogue among artists of different generations working in the floral still - life tradition,» said Heather MacDonald, the DMA's Lillian and James H. Clark Associate Curator of European Art, who is the exhibition co-curator.

«Inspired by vibrant jockey silks which are drenched in centuries of tradition and superstition, the restaurant's visual language is an eclectic mix of bold geometric shapes juxtaposed against vintage British typography and Victorian illustrations from old advertisements.

In her practice, she asks: How do we read visual threads across history from antiquity and the Renaissance, to female and craft traditions of art - making, to archetypes in folklore and theater?

Drawing on a wealth of concepts and subjects from the atomic and the cosmic, geometry and optics, to time, rotation and visual perception, Seeing Round Corners will also include a selection of objects and images from world cultures, religions and history such as scientific instruments, technological images and works from spiritual and mystical traditions.

This is evident in the understanding of the buildings as undressed cubic volumes of geometry, descendants from sculptural minimalism; also, in the exploration of color and their application in visual rhythmic structures that invokes the legacy of the pictorial constructivist tradition, but from a clear awareness of the use of the camera as a working tool.

Conceived in the tradition of the great international biennials, such as the Venice Biennale and the Bienal de São Paulo, Prospect New Orleans showcases new artistic practices from around the world in settings that are both historic and culturally exceptional, and contributes to the cultural economy of New Orleans and the Louisiana Gulf region by spurring cultural tourism and bringing international attention to the area's vibrant visual arts community.

Above all, they turned away from figurative traditions and explored a new visual vocabulary based overwhelmingly on geometric forms, sharp planes and a primary palette.

1987 Art — to — Wear Fashion Show, Boutique and Luncheon, The Cleveland Center for Contemporary Art, USA Malerei — Wandmalerei, Grazer Kunstverein, Stadtmuseum Graz, Austria Drawings from the Eighties, Carnegie Mellon University Art Gallery, Pittsburgh, USA Art Against Aids, M. Knoedler & Co, New York, USA (Benefit exhibition and auction for the American Foundation for Aids Research) Avant Garde in the Eighties, Los Angeles County Museum, USA Romanticism and Classicism, The QCC Art Gallery, Queensborough Community College, Bayside, New York, USA Working Woman, The Harcus Gallery, Boston, USA Stations, IAC (Centre International d'art Contemporain de Montreal), Canada The Success of Failure, Laumeier Sculpture Park and Gallery, Saint Louis, USA, traveled to Johnson Gallery, Middlebury College, Middlebury, Vermont; University of Arizona Museum of Art, Tucson, AZ (Exhibition organized and circulated byIndependent Curators Incorporated, New York) The Importance of Drawing, Fuller Goldeen Gallery, San Francisco, USA Still Life: Beyond Tradition, Visual Arts Museum, New York, USA Not So Plain Geometry, and Prints in Paris, Crown Point Press, New York, USA Faces, Crown Point Press, San Francisco, USA (Prints by Alex Katz, Francesco Clemente, Chuck Close and Pat Steir) and Recent Publications D'ornamentationi, Daniel Newburg Gallery, New York, USA A Decade of Pattern: Prints, Pieces and Prototypes from the Fabric Workshop, The Graduate School of Fine Arts, University of Pennsylvania at the Institute of Contemporary Art, Philadelphia, USA Stephen Antonakos, Michael Singer, Robert Stackhouse, Pat Steir, 19th Bienal de Sao Paulo, Brazil (Panorama of seven drawings by Steir) For 25 Years: Crown Point Press, Museum of Modern Art, New York, USA Drawings, Sylvia Cordish Fine Art, Baltimore, USA, The West Company, St. Paul, MN, Art and the Law (Traveling exhibition) Images of Stone: Two Centuries Artists» Lithographs, Sarah Campbell Blaffer Gallery, University of Houston, USA, traveled toSan Angelo Museum of Fine Arts, San Angelo, TX; Tyler Museum of Art, TX; Aspen Art Museum, Aspen, CO..

The exhibition presents how these pioneering artists turned away from figurative traditions and explored a new visual vocabulary based on geometric forms, sharp planes and a primary palette

Aram recycles spiritual symbols and visual traditions common to both the East and West, from media advertisements, to Renaissance painting, to Persian miniatures, and infuses them with new meaning in order to challenge stereotypes and misconceptions.

Her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos and the body of the artist in dynamic relationship with the social body.

Four Cranbrook Academy of Art Alumn were awarded 2013 Visual Arts Fellowships from The Kresge Foundation, continuing Cranbrook's tradition of developing some of the most sought - after talent in the metro Detroit area.

Their piece The Dragon of Profit and Private Ownership (2017) commissioned for the festival is a similarly playful take on the visual culture of protest and folk traditions, inspired by a Northumbrian miners» banner design from 1924 (the dragon emerged as a motif in 19th - century radical pamphlets).

Kathy Halbreich, director of Walker Art Center, Minneapolis, writes about the range of influences he absorbed: «From his early drawings rooted in a European Surrealist tradition to his monumental abstract canvases, Motherwell's visual language synthesizes a veritable history of modern painting, reflecting ties to Picasso's early collages, Matisse's color - rich paintings, and the development of American Abstract Expressionism in which he played such a pivotal role».

The second section of the exhibition, «To Learn is To Create,» showcases earlier works made between 1945 and 1954, a period in which Zao tapped diverse visual traditions and methods, ranging from European painters such as Paul Cézanne, Marc Chagall, and Paul Klee, to ancient Chinese bronze inscriptions, rubbings from Han - dynasty tomb decorations, and Tang - and Song - dynasty landscape paintings.

Conceived in the tradition of international biennials, Prospect New Orleans showcases new artistic practices from around the world and contributes to the realization of New Orleans by spurring tourism and bringing international attention to the city's vibrant visual arts community.