Sentences with phrase «area artist john»

It was painted by Bay Area Artist John Fenton.

Not exact matches

(Travis Wilkerson, 2017) projected video with live filmmaker narration; Crossroads Festival at SFMOMA, San Francisco, CA Gone, Gone Beyond (People Like Us, 2017) 10 - projector video installation; Grey Area, San Francisco, CA I'll Be Around (Jeremy Rourke, 2017) multi-video & 16 mm with live music performance; Artists» Television Access, San Francisco, CA Lost Landscapes of San Francisco 12 (Rick Prelinger, 2017) silent video with live filmmaker and audience narration; Castro Theatre, San Francisco, CA The Maribor Uprisings (Milton Guillén & Maple Razsa, 2017) branching video with guided audience participation; Maine International FilmFestival, Waterville, ME Mosswood (Kerry Laitala & Voicehandler, 2017) dual - 16 mm projector performance with live music; Mosswood Chapel, Oakland, CA Night Country (John Davis & Joshua Churchill, 2017) triple - 16 mm projector performance with live music; Mosswood Chapel, Oakland, CA Temporal Cities (Lizzy Brooks & Radka Pulliam, 2017) projected video with 35 mm slides; Other Cinema at Artists» Television Access, SanFrancisco, CA What Is Nothing [After What is Nothing](Kristen Reeves, 2017) nonuple - 16 mm projector performance; San Diego Underground Film Festival, San Diego, CA

Turnaround Arts, a program of the John F. Kennedy Center for the Performing Arts, empowers struggling schools with innovative arts, dance, theater, and music programs, arts integration across subject areas, arts resources, musical instruments, and high - profile artist mentors as a proven strategy to help address broader school challenges and close the opportunity gap.

St. John is among the most celebrated artists working in the style of Bay Area Figuration.

Comprised of works by twenty - one artists including Burgoyne Diller, Charles Shaw, Louis Stone, Theodore Roszak, Irene Rice Pereira, Albert E. Gallatin, Raymond Johnson, Agnes Pelton, and John Ferren, American Abstraction, 1930 - 1945 centers on one of Michael Rosenfeld Gallery's foundational areas of expertise, early American abstraction.

Features artists based in the area including Gahan Wilson, Reynolds Ruffins, Paul Davis, Jim McMullen, Donald Sultan, John Torreano, April Gornik, Jill Musnicki, Susan Lazarus, David Slater and others.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

The artists associated with these galleries were largely West Coast transplants who drew on the revolutionary music of John Cage and on the Bay Area's radical reinvention of poetry and dance to develop a new approach to visual art to be presented in a new kind of cultural space.

Mrs. Braunstein was a purveyor of contemporary art when there was little market for it in the Bay Area, and an early champion of such artists as Bruce Conner, John Altoon and Mary Snowden.

From 2004 - 2008 she was associate director at the Center for Advanced Visual Studies at MIT where she and staff commissioned and produced new work by Michael Smith, Damon Rich / the Center for Urban Pedagogy (CUP), John Malpede, and Xavier Le Roy; instituted a visiting artist series (Vito Acconci / Acconci Studio, Miranda July, Judith Barry, Seth Price, Dexter Sinister, and Rachel Harrison, among others); a student residency program; and a residency for Boston - area artists.

Included art objects will be a bulletin board that charts quotations and images of the Biospherans and visionaries of the project, a number of small gouaches from photographs taken by the artist of areas surrounding the Biosphere that have fallen derelict, a video tour of Biosphere2, portraits of the male visionaries (John Allen, Ed Bass, and Buckminster Fuller) of Biosphere2, and a multi-panel stenciled quote from Buckminster Fuller that encapsulates the contradictions inherent in a project that is the product of a single mind imposing its will upon a group:

The May singles program moves beyond the SFMOMA collection to feature contemporary works by Bay Area artists Anne Colvin, John Davis, Kota Ezawa, and Anne McGuire.

Several prominent black artists began their careers in the L.A. area, including Melvin Edwards, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Noah Purifoy, and Betye Saar.

Oglethorpe offers an exhibition of works by early - 20th - century artists depicting gritty scenes of old New York including John Sloan, Reginald Marsh, George Luks, Robert Henri and George Bellows culled from private collections within the Atlanta metro area, the High Museum of Art and The Museum of Modern Art, New York.

Known for its tranquil beauty and atmosphere, the area lured artists and writers such as Jackson Pollock, Lee Krasner, F. Scott Fitzgerald, and John Steinback.

«K@20 highlights 14 Washington, DC - area artists: Kendall Buster, William Christenberry, Gene Davis, Sam Gilliam, Tom Green, Ledelle Moe, Michael Platt, Jann Rosen - Queralt, John Ruppert, Jim Sanborn, Jeff Spaulding, Dan Steinhilber, Renee Stout, and Yuriko Yamaguchi.

Artworks by Judd as well as by John Chamberlain, Dan Flavin, Lucas Samaras, Carl Andre, David Novros, Larry Bell and Ad Reinhardt are spread throughout the building, including in a first - floor gallery, a second - floor kitchen and dining area, Judd's third - floor studio, and fifth - floor bedroom, complete with the artist's bed.

During the 1980s, John Hutcheson ran his own workshop in the New York City area and developed personal relationships with hundreds of artists.

Paul Kos, Tony Labat, Carlo McCormick on the history of the Lower East Side, John Cage, Hammer Museum, Townhouse Gallery (Cairo), Art Etiquette by Tom Marioni, Contemporary Art in the Greek Economy, an essay from Mark Van Proyen, Needles and Pens, LEADAPRON, Swarm Gallery, Madrone, Bay Area listings for Feb, March, April, pull out double sided poster from Paul Kos and Tony Labat, and artist projects from

She decided to explore other areas of study and transferred to the University of Wisconsin — Milwaukee (UWM), where she studied with visual artists Schomer Lichtner, John Colt, Lawrence Rathsack, and Fred Berman.

Brown's alliance with New York's Parasol Press in the early»70s brought a roster of East Coast minimalist and conceptual artists to the Bay Area to make their first prints and helped Brown gain the reputation and connections to publish editioned works by artists of national and international renown, including LeWitt, Kounellis, Ed Ruscha, Richard Tuttle, John Baldessari and Helen Frankenthaler.

London - based curator Huma Kabakci (Founder of Open Space Contemporary) and artist photographer Anna Skladmann are digging into the history and the archives of the soon - to - be redeveloped Whiteleys Shopping Centre in London; a building designed by John Belcher and John James Joass which opened in 1911 in the area of Queensway / Bayswater, London.

The event will feature an immersive experience created by many area artists, as well as a guest appearance by Chicago based Third Coast Percussion, an ensemble steeped in the music and aesthetic of John Cage, BMC College artist.

Honors include Vernon Fisher, noted artist, teacher; Nash Flores, area patron who led the successful campaign to build the Booker T Washington High School for Performing and Visual Arts, and philanthropists Arlene and John Dayton: John, serves as board member of the grand Dallas Center for the Performing Arts Foundation, and Arlene, president of Chinati Foundation in Marfa, Texas.

From 2004 — 2008 she was Associate Director at the Center for Advanced Visual Studies at MIT, where she and staff commissioned and produced new work by Michael Smith, Damon Rich / the Center for Urban Pedagogy (CUP), John Malpede, and Xavier Le Roy; instituted a visiting artist series (Vito Acconci / Acconci Studio, Miranda July, Judith Barry, Seth Price, Dexter Sinister, and Rachel Harrison, among others); a student residency program; and a residency for Boston - area artists.

Night Coming Tenderly, Black Dawoud Bey at St. John's Episcopal Church For this FRONT commission, the artist has created a series of brooding photographs evoking the imagined experience of escaped slaves moving northward through the city of Cleveland and the surrounding area to Lake Erie and boats bound for Canada.

john mcEnroe by leanne haase goebel Mar 2013 An abandoned mining area above the town of Ward, Colorado, inspired John McEnroe's most recent body of work, Half Life, currently on view at Robischon Gallery in Denver, in a solo show thematically connected with four other artist's solo shows, under the curatorial title: «Object Nature.&rajohn mcEnroe by leanne haase goebel Mar 2013 An abandoned mining area above the town of Ward, Colorado, inspired John McEnroe's most recent body of work, Half Life, currently on view at Robischon Gallery in Denver, in a solo show thematically connected with four other artist's solo shows, under the curatorial title: «Object Nature.&raJohn McEnroe's most recent body of work, Half Life, currently on view at Robischon Gallery in Denver, in a solo show thematically connected with four other artist's solo shows, under the curatorial title: «Object Nature.»

An abandoned mining area above the town of Ward, Colorado, inspired John McEnroe's most recent body of work, Half Life, currently on view at Robischon Gallery in Denver, in a solo show thematically connected with four other artist's solo shows, under the curatorial title: «Object Nature.»

Throughout its 20 - year run, MATRIX has shown a commitment to minimal, post-minimal and conceptual art, and such sometimes difficult artists as James Lee Byars, Alan Saret, Richard Serra, Jene Highstein, Scott Burton, Paul Kos, Tom Marioni, Howard Fried, Sol LeWitt, John Baldessari, David Ireland, Suzan Frecon, Adrian Piper, Richard Tuttle and Agnes Martin - all in the exhibition - have been mainstays of the program, making BAM a required visit for those in the Bay Area who care about contemporary art's more severe aspects.