new realism
nouveau réalisme

He called for a "new realism" in American foreign policy.

But a new realism was already apparent several months before the market's fall.

There a new realism and prices are coming down to sensible levels.

The new realism of its politicians is welcome, but Germany has a long way to go.

What was needed instead was a new realism, he said.

There were many signs of the so-called 'new realism' now.

He supported the writing of life - one theme in new realism literature approach.

It is impossible to go on to the "new realism" without examining the full truth about the old.

Then Irene heard a sound that brought new realism to all her past adventures.

It is important to realize, however, that what some commentators have called the 'new realism' did not start in 1979.

The new realism we advocate is built on four propositions.

He wants to bring to abstraction a new realism.

Modernism may be a spectre at the feast of the new realism, and little more.

For all the talk about a new consensus and a new realism, however, a number of issues remain open.

Games, both action and educational, will take on a new realism when displayed on a 32-bit system.

The new realism was made possible, in part, by Pucelle's formal approach to the miniature.

This is largely a critique of the new realism of his day.

New Realism in turn, called essentially for the same thing but using different mechanisms of action and police film rather than melodrama.

It has its roots in philosophical behaviorism and the new realism.

And that means a new realism in how women are portrayed in prime time.

In this it marks the beginning of a new realism painters were able to achieve using oil as a medium.

It gave new realism to the masquerade that Ape had undertaken.

But part of the new realism is a recognition that the golden years of the mid-80's are probably gone forever.

By our own poverty of spirit, we begin to gain a new realism about life and the way we ourselves live.

The dancing is also notably marked by a new realism that comes from more emphatic acting.

It is the foundation of Fluxus, Pop Art and Nouveau réalisme.

Similarly, in the 1984 nouveau réalisme film, Revenge of the Nerds, mopery is defined as "exposing oneself to a blind person."

Some Ultra-Lettrists went on to form the Nouveau réalisme school while others joined the Situationist International.

These four artists were part of a larger group in the 1960s called Nouveau Réalisme (New realism), Paris' answer to the American Pop movement.

The following year she moved to Paris where she became friends with the art critic and founder of the Nouveau Réalisme movement, Pierre Restany.

The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus.

Although he was independent and never belonged to a school, he was friends with Francis Gruber, the founder of the Nouveau Réalisme school.

Boezems work is unmistakably rooted in the 1960s, when Nouveau Réalisme in Europe and Pop Art in America had a great influence on many artists.

He is a part of the New Realist (Nouveau réalisme) movement with the greats: Yves Klein, Arman and Cesar.

He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960.

Zero is a group of artists founded by Heinz Mack and Otto Piene willing to became an international art movement, sometimes associated with the Nouveau réalisme paradigm.

He was one of the most important artists in the group known as L'Art Informel, and had close links with ZERO and Nouveau Réalisme.

He also owned important pieces from the Nouveau réalisme school including Yves Klein, Jean Tinguely, Arman, and Martial Raysse.

Matthias Koddenberg, "Christo and Jeanne-Claude: Realism's Newly Unveiled Face", in: Nouveau Réalisme, exh.

He and the critic Pierre Restany, his friend and collaborator, were leaders of Nouveau Réalisme, the last coherent French avant-garde, which specialized in appropriations and formal presentations of urban detritus.

In the fall of 1962 he organized the groundbreaking exhibition, the International Exhibition of the New Realists, a survey of contemporary Pop art and the seemingly related Nouveau Réalisme movement.

Beginning in Switzerland, during World War I, much of Dada, and some aspects of the art movements it inspired, such as Neo-Dada, Nouveau réalisme and Fluxus, is considered anti-art.

César was at the forefront of the Nouveau Réalisme movement with his radical compressions (compacted automobiles, discarded metal, or rubbish), expansions (polyurethane foam sculptures), and fantastic representations of animals and insects.

In the artistic circles of Pop Art, Nouveau Réalisme and Fluxus, she maintained friendships with Robert Rauschenberg, Jasper Johns, Niki de Saint Phalle and Jean Tinguely.

In 1960, he signed the manifesto of Nouveau Réalisme with Jacques de la Villeglé and Yves Klein; they would later be joined by artists Daniel Spoerri, Arman and Martial Raysse.

In the late 60s and early 70s, Bischofberger organized Pop-Art exhibitions, but also showed artists of the Nouveau Réalisme style such as Yves Klein and Jean Tinguely (later Bischofberger publishes Tinguely's Catalogue Raisonné).

He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp, the music of John Cage and joined the Fluxus artistic movement in the 1960s.

He was associated to the Ultra-Lettrists an offshoot of Lettrism and later was a member of the Nouveau Réalisme group, founded by Pierre Restany in 1960, whose other members included Yves Klein, Arman and Jean Tinguely.

Vasconcelos' operations of displacement, a reminiscence of the Ready-made, Nouveau Réalisme and Pop, provide a vision that is complicit and critical of contemporary society and the notions of collective identity, especially those related to the status of women, class distinction or national identity.

In October 1960, Arman, Yves Klein, François Dufrêne, Raymond Hains, Martial Raysse, Daniel Spoerri, Jean Tinguely and Jacques Villeglé, and art critic and philosopher Pierre Restany founded the Nouveau réalisme group.