Sentences with phrase «within twentieth century art»

Not exact matches

There aren't many twentieth - century American painters who have had powerful and distinctly contained phases of work within their art as a whole.

Arguably one of the most prominent New York artists of the Twentieth Century, Robert Rauschenberg was the consummate contrarian to the popular trends of the art world in the 1950's through to the 1990's — and arguably one of the most beloved and generous artists within the New York community.

Recent scholarship has placed these artists within the mainstream continuum of twentieth century art history, and their works add depth and richness to the landscape of American art history: BRUCE CONNER WALLACE BERMAN JOE GOODE ED RUSCHA TONY BERLANT LITA ALBUQUERQUE RICHARD PETTIBONE

Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art.

Elliott will also situate the compelling artist within the larger context of twentieth - century American art.

Committed to enhancing the quality of daily life through art produced within the home, she contributed a unique perspective to the formal explorations of twentieth - century abstract sculpture.

Within the past few months there have been significant gallery and museum exhibitions devoted to artists linked with what is probably the most influential movement in twentieth - century American art.

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.

Although the work of Jay DeFeo has been exhibited consistently over the years, mainly on the West Coast, her inclusion in the 1995 exhibition Beat Culture and the New America: 1950 - 1965 at the Whitney redefined her significance within the history of twentieth - century American art and prompted a reexamination of her entire life's oeuvre.

The exhibition examines the history of the artist - orchestrated meal, assessing its roots in early - twentieth century European avant - garde art, its development over the past decades within Western art, and its current global ubiquity.

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.

At the beginning of the twentieth century, the Hammer Museum found itself at a crossroads: the contemporary art center, housed in a building by Edward Larabee Barnes, suffered from anonymity both in its local environment and within the cultural context of Los Angeles.

Through his distinct interest in the act of representation within the modernist discourse, Browne re-conceptualized figural art for the twentieth century.

On view thru Sept. 27, America Is Hard to See — drawn entirely from the Museum's collection — reexamines the history of art in the United States from the beginning of the twentieth century to the present and examines the themes, ideas, beliefs and passions that have inspired American artists in their struggle to work within and against traditional conventions.

The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inferior to the photograph and many turned to photography as careers; within nineteenth - and twentieth - century art movements it is well documented that artists used the photograph as source material and as an aid — however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations; [8] and through the photograph's invention artists were open to a great deal of new experimentation.

Essays by scholars Samantha Baskind, Sergio Cortesini, Cozzolino, Robert Cowley, David McCarthy and Sarah Vure bring the artist's significance within the history of American art into sharp focus, providing unprecedented insight into the artist's process and the origins of his profound visions of twentieth - century social and spiritual upheaval.

[Clare Rojas] is often placed within the context of what is considered the most definable art movement to emerge out of the Bay Area in the late twentieth century: the «San Francisco Mission School.»

Among these are Josef Albers, Carl Andre, Diane Arbus, Hans Bellmer, André Breton, Marcel Broodthaers, Alexander Calder, Marcel Duchamp, Max Ernst, Hannah Höch, Jenny Holzer, Donald Judd, Sol LeWitt, René Magritte, Man Ray, Bruce Nauman, Brice Marden, Robert Morris, Edward Ruscha, Robert Ryman, Fred Sandback, Robert Smithson, Jean Tinguely, and Andy Warhol.In addition to significant concentrations in the areas of Minimalism and Pop Art, a highlight of the Perlstein Collection, featured prominently in this exhibition, is an exceptional «collection within the collection» of twentieth - century photography.

This exhibition was recreated by Gemano Celant at the Fondazione Prada, Venice, in 2013, highlighting its importance during the twentieth century, and its legacy within the history of art.

Now, as this historical thread comes of age and recognizes itself in the mirror of history and on the faces of its youth, as the pioneers of the culture are canonized and the younger artists are united, there are many more opportunities afforded them within the design market, auction houses and fine art world, as these communities continue grow in their recognition of the cultural value and influence of Graffiti and Street Art, as the most prevalent styles and art movements in the late twentieth and early twenty - first centuriart world, as these communities continue grow in their recognition of the cultural value and influence of Graffiti and Street Art, as the most prevalent styles and art movements in the late twentieth and early twenty - first centuriArt, as the most prevalent styles and art movements in the late twentieth and early twenty - first centuriart movements in the late twentieth and early twenty - first centuries.

For two decades, Robert Mnuchin has organized critically - acclaimed shows that examine key moments within an artist's oeuvre, often shedding light on under - investigated bodies of work by the leading figures in twentieth - century art.

White places the late paintings in the context of Newman's career, as well as within twentieth century American art, while Epley focuses on the technical aspects, materials, and significance of Newman's late, great works.

Interspersed with shows by gallery artists, we have presented several special exhibitions of twentieth century art that have particular significance within the context of the gallery's program: Frank Stella, Mark di Suvero, Hamish Fulton, Josef Albers, Sean Scully, Tom Wesselmann, John Wesley, Yves Klein, and Sonia & Robert Delaunay.