From the stark figurative silhouettes of Bill Traylor to the dense and colorful compositions of Nellie Mae Rowe, the works in the exhibition do not possess a single style or preoccupation but rather evidence the deep and profound expression of a personal vision that perseveres over the lifetimes of these artists.
By Andreas Marks Deadly weaponry and artistic ingenuity are celebrated in Lethal Beauty, a collection that explores the evolution of the warrior aesthetic unique to samurai history and artistry. Tales of their heroics have enchanted listeners since the 12th century, and perhaps more than any other warrior class in history, they continue to fascinate people of all backgrounds, cultures, and ages.
Modern art is that which was created sometime between the 1860s (some say the 1880s) and the late 1960s (some say only through the 1950s).
Art made thereafter (e.g., conceptual, minimalist, postmodern, feminist) is considered contemporary.
In art world discourse throughout the world, it appears in bursts of special usage in the 1920s and 1930s, and again during the 1960s, but it remains subsidiary to terms––such as “modern art,” “modernism,” and, after 1970, “postmodernism”––that highlight art’s close but contested relationships to social and cultural modernity.
“Contemporary art” achieves a strong sense, and habitual capitalization, only in the 1980s.
Six of the quilts in the exhibition were included in “The Twentieth Century’s Best 100 American Quilts,” selected in 1999 by a panel of experts. Burks, chief curator of the Shelburne Museum, was guest curator and wrote the informative essay.
The first part of the exhibition presents outstanding examples of traditional patterns including Pincushion, Album, Amish, Mennonite, Hawaiian, Log Cabin and Crazy quilts.
Yet, its valiance for any of the usual art-critical and historical purposes remains contested and uncertain.
To fill in this empty signifier by establishing the content of this category is the concern of a growing number of early-21st-century publications.