Sentences with phrase «artists feel called»

Not exact matches

The boy is Kyle (Call Me by Your Name's Timothée Chalamet) who styles himself as a dreamy intellectual artist by draining his voice of all feeling.

Before SAG announced their nominations, there was a feeling of a conventional five that floated on the internet: Timothee Chalamet («Call Me by Your Name «-RRB-, Daniel Day - Lewis («Phantom Thread «-RRB-, James Franco («The Disaster Artist «-RRB-, Tom Hanks («The Post «-RRB-, and Gary Oldman («Darkest Hour «-RRB-.

They encouraged all the artists to be open and honest about how we experience life as human beings, with the goal to get down to what Mann called «the true feelings.»

He saw the importance behind the piece and felt the call as an artist to bring it to fruition.

Many people feel the calling to become artists, but only a few actually follow through on that calling — so why did you do it?

Through this work, the CALL Artist can gain a greater understanding of their creative development, feel empowered to own their history as an artist, and be encouraged to incorporate it into their estateArtist can gain a greater understanding of their creative development, feel empowered to own their history as an artist, and be encouraged to incorporate it into their estateartist, and be encouraged to incorporate it into their estate plan.

«Ancienne Rive,» meaning ancient river, calls upon ideas of history, authenticity, and something with deep roots, which contradicts the artist's self proclaimed feelings of loneliness, foreign alienation and the notion of being both nowhere and everywhere.

The last show of 2017 is our annual Holiday show and in keeping with our charged political times, it was called «A Political and Apolitical Holiday Show», inviting artists to make whatever statement they felt fit the bill.

De Kooning contrasted the febrile universe of female sexuality with the chaos of the modern city in what the artist called feelings of «leaving the city or returning to it.»

Working with the diverse immigrant community in his home city of Los Angeles, the artist creates portraits that investigate feelings of being an outsider in the very place you call home.

(In a phone call, the artist recalled feeling, while whale - side, a weight so profound it displaced thought.)

Demonstrating his use of what the artist calls «dirty objects» Hammons's Bag Lady in Flight (1975/90) is made of greasy brown paper bags delicately folded into wing - like formations and embroidered with African American hair, evoking the feeling of a phoenix rising from discarded objects.

As a part of a review for Helen's show called The Plank Salad, Adrian Searle stated an interesting observation which actually provides a valuable insight into how someone analyzing the work of this artist feels: Marten makes you want to look very closely at the things she makes and the traces she leaves.

One had to feel a little sorry for him in the reckoning: One of his paintings, through no doings of his own, breaks auction records for a work by a living European artist, and he gets pitted against no less a luminary than Giovanni Battista Tiepolo as quintessential of what art historian James Meyer called the market's «overestimation of the contemporary.»

«Crossroads,» as the piece is called, was made by San Francisco artist Bruce Conner back in 1976, when the Cold War was still casting a chill over international politics, and the U.S. was feeling chastened just a year after its ignoble departure from Vietnam.

«For Motherwell, the process of making collages has always been associated with directness and discovery... In the process of automatic drawing the artist discovers new forms by allowing his hand free play, calling forth images and feelings that exist below the level of consciousness.

LINDA NOCHLIN: Right, but do you generally feel that something we call nature is important, both to you as an artist and as a person?

This artist creates works because he is born, but also because she says there's a voice inside that compels him to make him happy and obey that call, it feels good to be a subject of creativity, as well maintains an obsession with beauty.

Each painting, or «spainting,» as she sometimes calls them (from the combination of sculpture and painting, like the combination of spoon and fork known as the «spork»), responds to the feelings of the artist on the day when it was made.

Though sometimes explicitly tied to the artist's own history, Sameshima's work often calls to mind societal attitudes towards «the other» and functions within a framework of internal struggles between social normativity and feelings of alienation.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

It was during that time that I realized that Lloyd felt called, in a sense, to liberate Native people as artists.

Mr. Crosby calls the artist's inspiration an «idealized quest that feels so compromised today» at the beginning of the printed conversation, but by the end finds resolution of sorts in works by contemporary artists such as Howardena Pindell and Kerry James Marshall who echo Pippin's «desire to insert our most resolute democratic values into a conversation that only art can have.»

With a feeling for paradox Aldo Grazzi «s solo show is called a group show because it groups works by the same artist...

With a feeling for paradox Aldo Grazzi «s solo show is called a group show because it groups works by the same artist done in different periods.

Inside, Weems talks with Charmaine Picard about fellow artist Mike Kelley; the intersection of art and activism; feeling like an elder stateswoman when she met First Lady Michelle Obama, which was «lovely»; and a new body of work called «Equivalents.»

As an undergraduate, I felt much more engaged in the conversations I was having with other artists about their work than in my own art practice, so I turned my studio into a gallery, calling it Studio 228, after my room number.

Now that her third exhibition this year opened last week at New York's Lehmann Maupin gallery, Tracey Emin feels that she has earned a yearlong sabbatical, which she chose to announce, in the tradition of artists who wish to make an overt statement that doubles as an inside joke, by taking out an ad in Artforum: a photo of herself along with her four representatives, their contact information, and the message «If you need anything call one of these people» in the scrawl now so recognizable from her signature neons.

It was in the UK, however, that the artist showed that he is unafraid of asserting himself a bit when he feels it is called for.

I felt compelled to document the scene and in March called Robert with an idea to photograph groups of East Village artists, dealers, critics, and collectors.