Sentences with phrase «as a young artist just»

As a young artist just starting out all of Cory's content has been so helpful for me.

Not exact matches

But I was just amazed by how everyone, young and old wanted to be involved... and was so deeply enriched and touched by the experience and the laughter and the love I experienced from the people I met and how women would in particular open their hearts to me and tell me the stories of where they've come from, particularly because I have the language and was coming there as a woman and just how touched they were that I was there as a woman from England who's learned the language and who's an artist and running this project and come all the way to see them so they didn't feel forgotten I think that was pretty much what they felt... that their stories were being heard so they don't feel forgotten knowing the tents would be around the world.

One of the films that didn't blow us away at Sundance, but offered a solid film full of jokes made just for cinephiles, was In a World... The film directed by actress Lake Bell follows a young female voice coach (Bell) as she joins the all - male race to land the white - hot new trailer of a blockbuster trilogy, and with it lay claim to the legendary trailer catchphrase «In a world...» She faces stuffy, douchebag competition in Ken Marino and even her own father (Fred Melamed), a legendary voice - over artist who can't bring himself to recognize his daughter's talent.

However, for those familiar with the great painter's works, as well as the prevailing spirit of the Era of Enlightenment and the style of the other great artists of various mediums who used their craft to comment on the blights of the world around them, Goya's Ghosts speaks on a level that transcends just the story of two men looking after the welfare of a young, unfortunate woman caught up in the hysteria of power that marked the end of the Spanish Inquisition's stranglehold of power, as well as the outrageous hypocrisy in their manner of governance.

I love the idea that these remarkable and lasting works of art were done by unschooled young artists who were basically inventing the art of painting — just as the caves were the first art galleries!

Sylvester countered remarks by various critics that the artist's work was closer to sculpture than to painting: «in spite of the heaped - up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting» (Sylvester, «Young English Painting», The Listener, 12 January 1956).

The small oil paintings reveal him as a young artist beginning just after the tumult of Abstract Expressionism.

Nevertheless Robert Motherwell; Early Collages, which runs through January 5, is well worth seeing and these works, placed today in a small gallery on the Lower East Side, in the guise of having just come out of the studio of some young artist, would appear completely viable and credible as contemporary works because there are so many artists today, here in New York showing on the LES and Bushwick as well as elsewhere in the United States and Canada and perhaps globally, still working in the orbit of the aesthetic consensus of post-War formalism.

Enshrined as the first work of Pop art — which Hamilton defined as «popular, transient, expendable, low - cost, mass - produced, young, witty, sexy, gimmicky, glamorous, and Big Business» at a time when Warhol was still drawing shoes — the piece will be just one highlight of the artist's first comprehensive survey when it opens at Tate Modern this month, chronicling a career that spanned both political art and collaborations with Mick Jagger and the Beatles.

It also means that the few quotes that have been gleaned over a career spanning five decades — first as a young artist making his way in LA, where he was influenced by West Coast conceptualists Bruce Nauman and Chris Burden, then in New York, where he became involved in the avant - garde black art scene centered around the pioneering gallery Just Above Midtown — tend to get quite a bit of recycling.

I could see the Young British Artists as Warhol retreads, but I had never thought to ask just how one gets from late Warhol to Damien Hirst.

At the same time, just as importantly, there is a new generation of dynamic young dealers who are very active in post-war Italian art — doing a lot of research and promoting artists with catalogs, museum shows and major highly focused art - fair booths.

By some fortuitous coincidence just a few steps separate «Joan Mitchell: The Last Paintings» at Cheim & Read from «Matta: A Centennial Celebration» at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as «old age style» — used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier years.

I had just read James Joyce's A Portrait of the Artist as a Young Man.

Not a bad recipe for success, just as for the Young British Artists or for Jeff Koons in curating another wealthy collector's cavemen and car wrecks.

Just as Matthew Higgs was an emerging curator at the time, many of the artists participating in Imprint 93 were at the beginning of their careers working outside or on the margins of the Young British Artists mainstream of the artists participating in Imprint 93 were at the beginning of their careers working outside or on the margins of the Young British Artists mainstream of the Artists mainstream of the period.

While not overtly political (though it could be argued that, with the underrepresentation of women in tech, just working with technology as a woman artist is a feminist act), these works act as historical precedents to the more biting commentary by younger artists.

As the entire nation tightened its belt, young artists just wanted to show their work: they had no money anyway, and little to lose.

«He's not a Young British Artist, he's doing something different, but just as the American artist Edward Hopper is revered, I hope some of that could rub off on Vettriano.&Artist, he's doing something different, but just as the American artist Edward Hopper is revered, I hope some of that could rub off on Vettriano.&artist Edward Hopper is revered, I hope some of that could rub off on Vettriano.»

Put together, the two bodies of work put forth Smith's age - inappropriate antics as a case of culture skewing younger, not just the artist getting older.

Born in London in 1969, Cecily Brown attended the Slade School of Fine Art in the early 1990s, just when such «Young British Artists» as Damien Hirst and Tracey Emin were dominating the scene with provocative work.

Just as a young man hanging out at the mall performs black masculinity through his look, walk and speech, artists like Kerry James Marshall, Wangechi Mutu and Yinka Shonibare are cast in the role of «black contemporary artist» — a role they pilot with dexterity and finesse.

We can say that Ratna Wulan and Hardono are representative of a younger generation of Indonesian artists who are just as comfortable working within their local contexts as within broader global ones.

Thanks to her wide and inclusive view, she is able to fulfill the role of artistic director in different realities such as an institutional pavilion like Expo Gate, for Milano Expo in 2015, and IL CREPACCIO project, a showcase in Milan for young artists and not just them, (recently on Instagram with IL CREPACCIO INSTAGRAM SHOW @ilcrepaccio), she is a curator of exhibitions — such as the latest solo exhibition of Thomas Braida at Palazzo Nani Bernardo for the Venice Biennale 2017 — and of public projects for companies and international institutions like Moderna Museet in Stockholm and Performa in New York.

Simply put, if an artist has succeeded in the studio time and again with a combination of form and color, he or she knows where the dash of cobalt goes and how to make it stick with authority, just as an experienced athlete can anticipate the play and outsmart younger players who rush around the field unthinkingly.

This column, is hosting new artworks, of younger and older artists who either are on exhibition this days or had recently been exhibited, in order to grope together with the artists all the aspects of their work, just as in the case of Christos Charisis that every time surprises us, since he uses different media to enunciate visual discourse.

This column, is hosting new artworks, of younger and older artists who either are on exhibition this days or had recently been exhibited, in order to grope together with the artists all the aspects of their work, just as in the case of Marianna Gioka.

The 1939 - 1949 frame inevitably leaves out many important older and younger artists of the time (just as the limits of wall space impose other exclusions), but the subject of this show is not the entirety of New York abstract painting of the 1980s, rather what a specific generation contributed to it.

Just as both Pearlstein and Bontecou influenced different sides of my development as a young artist, at that time Semmel and Schneemann were equally important to my work.

The museum simultaneously gained a new mission, not just as a permanent exhibition and exhibition space, but as an experimental, informational and social hub for young contemporary artists, providing a regional, national and international context, the latter through the International Contemporary Art Network.

Then I saw a lot of him when we were back in L.A., and I saw a lot of his frustration as a young artist who was ambitious and smart and just so passionate about making art.

Washington collector Peggy Cooper Cafritz, co-founder of the Duke Ellington School of the Arts and a passionate supporter of young artists, died Feb. 18, just as «Fired Up!

Artist Michael Young (featured in the Hedge Gallery booth) takes a final seat in his «Oxygen Chair» as it was just purchased by SFMOMA for the museum's Design collection.

In addition to his interest in Scandinavian artists, such as Matias Faldbakken, he also supports young names like Helen Marten and Oscar, who has just been picked up by David Zwirner.

It's not a museum, but here is a list of just some of the current offerings: an up - to - the - minute program of filmic contemplations on race by one of today's most sought - after American artists (Carrie Mae Weems); an invigorating pairing of enigmatic artists from the mid-20th century (Francis Picabia) and today (Sigmar Polke); witty, laboriously hand - carved wooden replicas of cheap plastic seating by a young South African (Cameron Platter); little - seen commercial work by an artist best known for his ruminations on photographic truth (Larry Sultan); a reinterpretation of a well - known installation - cum - performance from the 1980s (originally by Sultan and Mike Mandel); a show of serious political works by distinguished artists, pitched as an interactive project to young audiences («Rise Up!

As the many shows of mature painters this weekend evidence, the surge of interest in this traditional medium among younger artists didn't come out of nowhere — it has just been lying dormant while we rode out the various «post -» s.