Sentences with phrase «written about art history»

well, I'm not original enough to start an art revolution so my work is influenced by every single piece of art ever created, everything ever written about art history and art theory, almost any traditional art by indigenous people anywhere, Roy Fridge, Jimmy Pena and, importantly, deciding to study art.

Would such a provocation shift the way we write about art history and how we curate shows?

Not exact matches

The neighborhood was developed in the 1940s and today represents a remarkably preserved example of the kind of postwar, mass - produced housing that would proliferate in the following decades, according to Anna Andrzejewski, a UW - Madison professor of art history who has written about the neighborhood.

CHER is your Canadian source for Home Education materials including: All About Learning, Alpha Omega Publications, Apologia Educational Ministries, Essentials in Writing, Explode the Code, Handwriting Without Tears, Learning Language Arts through Literature, Life of Fred, Mystery of History, Master Books, Northwoods Press, Rosetta Stone, Saxon Math, Singapore Math, WriteShop, and so much more!

This is taken from the book «The Art & Science of Low Carbohydrate Living by by Phd Stephen D. Phinney MD and Rd Jeff S. Volek — «Whole books have been written about the history of salt.

«When you teach about the great characters from history, science and art, be sure to portray the whole stories: the pains as well as the gains, the human side entwined with the brilliance, the challenges along with the glory,» writes Elisa Guerra Cruz (@ElisaGuerraCruz).

Andrew Farago talks to CBR about the return of the Cartoon Art Museum, and writing the history of Harley Quinn, Peanuts and»80s cartoons.

In these eloquent and surprising essays, twenty writers face this fact, among them Geoff Dyer, who describes the ghost bikes memorializing those who die in biking accidents; Jonathan Safran Foer, proposing a new way of punctuating dialogue in the face of a family history of heart attacks and decimation by the Holocaust; Mark Doty, whose reflections on the art - porn movie Bijou lead to a meditation on the intersection of sex and death epitomized by the AIDS epidemic; and Joyce Carol Oates, who writes about the loss of her husband and faces her own mortality.

Credibility within the field you're writing about (this is crucial; it's not much good if you've spent a lifetime working and developing connections in health care but your book is about art history, for example)

I'll need to post more polished, professional content about creativity, creative production, art and writing, brain science and nootropics, the history of creativity and inspiration, and I need a better optin offer targeted towards helping people discover their own creative genius.

Murissa's blog first began as a way for her to keep writing about her passions after she graduated from UBC with a double major in creative writing and art history.

A look at Regionalism's evolving reputation, with excerpts from our archives about how Grant Wood's American Gothic first angered local critics, was then written into art history, and finally became joke material for Hollywood filmmakers.

Instructor: Paula Burleigh is a Joan Tisch Teaching Fellow at the Whitney and a PhD candidate in Art History at the CUNY Graduate Center, where she is writing her dissertation about the use of archaic forms in a range of utopian projects in Western Europe during the 1960s.

Riley herself is passionate about art history, having studied and written extensively on Old Masters.

If you've ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay «Specific Objects» in 1965.

In a piece for RA Magazine last summer about positive discrimination and women artists, she wrote: «Contemporary artists are in constant dialogue with art history and, as a generalisation, art history is overwhelmingly about male artists.»

As Minturn explains in his essay accompanying the exhibition catalogue, «When composing the book [on Ossorio], Dubuffet had many of the works he was writing about right in front of him, some of which had been executed just hours before... Dubuffet makes it clear that his study is not art history written from afar (in time or space), rather, it is art writing «on the spot,» and as such, much closer to journalistic reportage.

I predict this singular record of diy clips, most of them ten - minute windows on the art of today, will be more important to art history than almost anything being written about the contemporary scene.

Guez's work raises questions about contemporary art's role in narrating unwritten histories, and re-contextualizing visual and written documents.

Professor of English at UCLA and winner of the Robert Motherwell Book Award for his Novelty: A History of the New (2013), Michael North writes about «the new» in art.

Fleisher / Ollman has written a yarn about life in Philadelphia for Artjaw, an ongoing oral history of art in Philadelphia.

As ever, this promises to be a lively mash - up of subverted references, that challenges you to think again about the colonialist or otherwise oppressive histories that western art helped to write.

He has written for international art magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine Arart at New York University where he received a PhD in Art History and Archaeology from the Institute of Fine ArArt History and Archaeology from the Institute of Fine Arts.

Israel has written for international art magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart magazines and exhibition catalogues; delivered talks about modern and contemporary art and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart and his work at Artsy globally; worked for prominent galleries; managed major artist estates and foundations; and taught modern and contemporary art at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine Arart at NYU, where he received a PhD in Art History and Archaeology - from NYU's Institute of Fine ArArt History and Archaeology - from NYU's Institute of Fine Arts.

Moffat studied art history and spent much of his time writing about artists and their historical meanings.

Today's selection comes from the editor in chief of our sister publication, Art Practical: Kara Q. Smith opines, «It's not easy to write about three shows in 1,000 words, but what I love about this review by Matt Stromberg is his ability to nod to the [California] art history that -LSB-...Art Practical: Kara Q. Smith opines, «It's not easy to write about three shows in 1,000 words, but what I love about this review by Matt Stromberg is his ability to nod to the [California] art history that -LSB-...art history that -LSB-.....]

I write about contemporary art, but my heart is in art history, especially the reactionary Western version.

But his willingness to call out what he saw as complacency within the contemporary art elite, his exacting knowledge of art history, and his witty approach to writing and speaking about art, marked him out, winning him a wide audience in an age obsessed with cultural criticism's supposed decline.

She teaches art history and criticism at the School of the Art Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foart history and criticism at the School of the Art Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foArt Institute of Chicago and holds a Ph.D. from the Institute of Fine Arts, New York University, where she wrote her dissertation about walking as a radical aesthetic art foart form.

I've had the good fortune to make my living writing about art, artists, and art history, and I am always reading about it because there is never an end to what we can learn.

Having witnessed the rise of graffiti and urban art from its very beginnings, Danysz became an expert in the movement, writing books about the history of Street Art and curating major institutional group shows, as well as over fifty solo shows with artists including Shepard Fairey (aka Obey), Space Invader, JR and Vhils among many otheart from its very beginnings, Danysz became an expert in the movement, writing books about the history of Street Art and curating major institutional group shows, as well as over fifty solo shows with artists including Shepard Fairey (aka Obey), Space Invader, JR and Vhils among many otheArt and curating major institutional group shows, as well as over fifty solo shows with artists including Shepard Fairey (aka Obey), Space Invader, JR and Vhils among many others.

They also need to write about them and, in the process, incorporate media theory, game studies, film criticism, anthropology, history, philosophy, and scientific studies, perhaps as a way of indicating that they are engaging in art making rather than basic Internet use.

Ceramics Finds Its Place in the Art - World Mainstream Lilly Wei writes... From the first generation of modernists who worked in clay to contemporary practitioners, all have made breakthroughs: in scale, in single objects as well as expansive installations; in technical experimentation; in increasingly original formal resolutions from the abstract to the realistic; and in content, exploring issues about the body, identity, politics, history, feminism, domesticity, means of production, and beauty... more

She has written a book about the French photographer Eugène Atget and in 2013, her first collection of essays, Pragmatism in the History of Art, was published.

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and Californart history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Ansa Lønstrup, Lecturer in the Institute of Aesthetics and Communication, writes about the sound aspect of Tony Oursler's works, while Michael Amy, Professor of the History of Art in the College of Imaging Arts & Sciences in the Rochester Institute of Technology, writes on the attitude to the face in the light of the history History of Art in the College of Imaging Arts & Sciences in the Rochester Institute of Technology, writes on the attitude to the face in the light of the history of aArt in the College of Imaging Arts & Sciences in the Rochester Institute of Technology, writes on the attitude to the face in the light of the history history of artart.

Greenberg later wrote about this transformative moment in Louis's life and in the history of art: «His first sight of the middle - period Pollocks and of a large and extraordinary painting done in 1952 by Helen Frankenthaler, called «Mountains and Sea,» led Louis to change his direction abruptly.

She has written for specialist and generalist publications (African Arts, NKA: Journal of Contemporary African Art, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienArt, Prospect, the Financial Times), lectured at museums and galleries (SOAS, Cambridge, Birkbeck, Photographer's Gallery, British Museum, Tate Modern), and is interested in communicating ideas about culture, history, art and the negotiation of identities to a wide audienart and the negotiation of identities to a wide audience.

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».

Click on the titles to find sample essays, and be sure to read «How to Write an Art History Paper» to learn about researching and writing your paper.

Throughout the 1930s she wrote about and taught art - the latter in both Dublin and Cork - playing an important role in the history of Irish painting, as an early proponent of abstraction in art and as a champion of the modern movement.

Traditional art history was, in the main, written by white, Western men, men who, despite their often - brilliant scholarship, tended to write about other white, Western men.

Artforum writes about Miller's «long history of serving the arts community throughout New York, the East Coast, and abroad as a founder and leader of numerous cultural organizations» in a May 2018 obituary.

Cheryl Finley, a professor of art history at Cornell University, writes about the London exhibition which is traveling to the United States and is slated to open at the Crystal Bridges Museum of American Art in Bentonville, Ark., on Feb. 3, 2018, and will later be on view at the Brooklyn Museum (Sept. 7, 2017 - Fart history at Cornell University, writes about the London exhibition which is traveling to the United States and is slated to open at the Crystal Bridges Museum of American Art in Bentonville, Ark., on Feb. 3, 2018, and will later be on view at the Brooklyn Museum (Sept. 7, 2017 - FArt in Bentonville, Ark., on Feb. 3, 2018, and will later be on view at the Brooklyn Museum (Sept. 7, 2017 - Feb.

Because I was not seeing the Black body written about art historically in relation to the white body and the discourse — it wasn't there in art history.

Lowery Stokes Sims — co-curator of a Colescott exhibition scheduled to open at the Contemporary Arts Center in Cincinnati next year — writes in the catalogue for the Seattle exhibit that Colescott uses «satire and parody of art - historical masterpieces with the idea of interjecting black people into art history and tricking us into a conversation about what constitutes the art - historical canon.»

We ask art historians about the training, methodologies and practices required to write a substantial and informed history of Indonesian art; we foster interaction between art historians and artists in our community through interviews; and we encourage artists to use their studios as laboratories where the present and the past collide, creating alternative, hybrid forms of understanding.

My favourite works are all by female artists, who are so often absent from Italian art history: Carla Accardi's fluorescent and candy - coloured Rotolo Arancio and Rotolo Verde (Orange Roll and Green Roll, both 1967), painted on sheets of rolled - up transparent plastic sheeting; Irma Blank's Twelve Chapters (1977), 12 laboriously hand - written books filled with the artist's elegant abstract signs, and Lisetta Carmi's I Travestiti (Transvestites, 1965 — 71), a pioneering and much censored photographic project about the trans community in Genoa.

It is precisely this sense of irony and global interconnectivity that appealed to Shonibare, writing about their tangled trans - continental history, he says, «What that means to me is a metaphor of interdependence» (Y. Shonibare, as quoted by R. Kent, «Time and Transformation in the Art of Yinka Shonibare MBE,» Yinka Shonibare MBE, exh.