pertaining to the history of art.
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In recent decades, there has been a sustained questioning of conventional art-historical paradigms.
Surrealism & War, the major exhibition this past summer and fall at the National Veterans Art Museum in Chicago, presented visual art by nine veterans of America's most recent wars, asking viewers to interpret images produced out of personal trauma on the basis of an art-historical rubric that fore grounded Surrealism's celebration of liberatory potential in unconscious expression.
This elemental employment of shape, line and color recalls Art-Historical movements of the 1960s such as Op-art and Minimalism.
There's nothing art-historical in terms of his representation (nor) in terms of his paint handling.
While the cannons are fakes, this one was real, a readymade--and a winking quotation of various art-historical moments, from Duchamp to Jeff Koons.
Moxey offers a cogent analysis of the logical paradoxes pervading these foundational texts, inviting us to consider how Panofsky folds theory and method into truth claims based on empirical study in the physical sciences, but also on the Hegelian tradition deeply embedded in German art-historical scholarship.
is a tool which primarily aims to advance modern architectural historiography, freeing it from worn-out art-historical itineraries and creating a methodology of knowledge and procedures for working on the modern heritage'.
Empowered with big ideas and inquiry skills, the art-historical understanding of our students need not be limited to our curricular choices.
The works varied from pieces that reflected current trends and styles as well as those which made reference to an art-historical past.
Previous Gelitin projects have played fast and loose with a range of art-historical precedents: Their giant pink Rabbit, 2005, for instance, pokes fun at the seriousness and machismo of Land art.
An example of these attributes is the chapter in which Cunnally departs from his cultural analysis to deal with the technical question of the identity of the engraver of the woodcuts in the Illustrium imagines and concludes a rather tenuous series of identifications and parallels with the observation (83-85), "Palumba, however, has a peculiar way of terminating the free-falling curls in a springy S-shaped fillip that can be considered a Morellian trait of his, if such a concept is still permissible in art-historical writing.
The remainder of the show indicated an important shift in the conceptualization of Lachowicz's work: She is still using cosmetics, but the newer works appear to address something beyond art-historical commentary or post-feminist theory.