He was able to create a powerfully organic, or "diffused" through an infinite web of "signs" because of the "decentered" program.
There are unstable meanings to the steel skeleton.
Deconstructivist by a thin skin of silvery titanium that shimmers gold or architecture is also intertextual, in that it plays with silver depending on the time of day and the weather.
From the north, the building resembles a living and contexts, while from other angles it looks like a giant ship, its perceived instability of both meaning and form.
The interior of the museum is a notoriously difficult space, despite the sculptural beauty of the museum.
This building is similar to the one in 1979 in that it was established by a woman who studied in London.
The New York Guggenheim Kazimir Malevich was influenced by the paintings of Wright.
The sculptural potential of architecture is a forebear of reinforced concrete walls.
The art world has mirrored globalization since the 1990s.
Artists look to the cultural network that has developed through the use of alternative practices, ideas, and formats that emerged in the last half of the 20th century, as well as the development of digital communication since the 1990s.
Postcolonial ditional media like painting and photography, adapting discourse has warned of the excessive influence of them in many ways to produce new works that respond to industrialized nations on developing countries and as a rapidly changing culture.
The popularity of postwar art in the world has gone down in recent years.
There are new museums dedicated to national identity and cultural heritage.
The complexity of and Documenta, in West Germany, international issues, forcing us to acknowledge our cultural biases now occur regularly in places such as Sharjah and Gwanju in China.
Born in Iran in 1957, Neshat moved to the United States in 1974 to explore broad themes and changing ideologies.
She returned to Iran for the first time and ate a lot.
The country was transformed by the proliferation of art fairs like Art Basel in Switzerland, which came to power with the 1979 Islamic Revolu.
Neshat began to create beautiful things.
The poetic photographs and films that explore complicated international art market, which reached $53.9 billion in realities of gender, religion, and cultural difference, has seen unprecedented growth.
Modern and contemporary art accounted for 48 percent of the total sales of the 1994 " Women of Allah" series.
The woman's face is exposed, and Neshat has inscribed on the photograph, in Farsi, a text from a twentieth-century Iranian female writer.
A rifle barrel runs through the composition and splits the woman's figure.
The gun and calligraphy show how little we know about the woman.
She looks out to meet our gaze, challenging beliefs about submissive Muslim women and reinforcing fears of fundamentalist Islamic militarism.
As Neshat raises questions about the role of women in post-revolutionary Iran, the image's meaning remains unclear.
He studied traditional ink painting at China's National Academy of Fine Arts before moving to the United States in 1987.
The "United Nations Series" began in 1992 and now includes more than 20 "monuments," which highlight the histories and traditions of particular countries.
These large-scale installations are constructed with transparent walls and screens of human hair collected from the floors of hairdressers around the world and woven to create lacelike patterns and pseudo-characters based on Chinese, English, Arabic, and Hindi languages.
The text appears readable, but closer scrutiny shows it to be Gu's own script.
Black-and-white RC print and ink may be confused, misinterpreted, or incorrect.
Commissioned by the Asia Society.
Peter Muscato's body will be passed on regardless of gender or sexual orientation.
By the mid 1980s AIDS was declared a global epidemic, and by 1994 it was the leading cause of death for people between the ages of 25 and 44.
The Asia Society in New York commissioned uncertainty throughout the 1980s.
Video monitors in chairs led some to disregard the seriousness of project images of clouds and sky.
Chinese bells play in the background during this time.
Many artists adapted activist strategies to educate the public about the disease and The Body in Contemporary Art call for government action.
They took on mass-produced materials with personal meaning in the wake of the AIDS epidemic.
The body is a universal metaphor for tality.
A stack ists highlighted the physical effects of the disease, a link of pale blue paper sat on the gallery floor, and visitors could take a sheet with them.
Those not personally afflicted as the sheets.
The Culture Wars had railed, the vertical stack gradually diminished against artists who incorporated graphic imagery or used in height, an allegory of the slowly disappearing body of the body to explore gender and sexuality.
In 1981 a political act called attention to a mysterious disease that seemed to be the social impact of the AIDS epidemic, as well as a lasting affecting gay men.
Over the next decade, society came to remember those who had died.
Acquired Immune Defi was a disease that died of AIDS in 1996.
The print is 38 x 26'' (96.5 x 66 cm).
The PPOW Gallery is on New York streets after leaving an abusive home.
A need to give voice to those marginalized by society is suggested by his frequent combination of imagery and texts.
When faced with the death of his lover, photographer Peter Hujar, and his own diagnosis as HIV-positive, Wojnarowicz began to focus his art on the feelings involved in watching a loved one die while facing one's own mortality.