Sentences with phrase «calvin tomkins»

[11] In the same publication, critic Calvin Tomkins described Gursky as one of the «two masters» of the «Düsseldorf» school.

2014 With essays by Bruce Hainley, Calvin Tomkins, and Fairfield Porter.

Christopher Rauschenberg, Donald Saff, Calvin Tomkins, Lawrence Voytek, and others, with commentary by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, MoMA; Ellen Davis, Conservation Fellow, MoMA; and Gunnar Marklund, Electrician, Moderna Museet, Stockholm, and archival interviews with the artist himself, the audio tour accompanying the exhibition explores Rauschenberg's deep commitment to collaboration and experimentation across disciplines during the course of his six - decade career.

Including full - color plates of over sixty works spanning York's career, a new essay by poet and art critic Bruce Hainley, plus earlier essays by Fairfield Porter and Calvin Tomkins, an extensive chronology, a complete bibliography, and a detailed catalogue of works, this publication is a testament to, as Hainley puts it, York's «pursuit of lyric intensity while negotiating a point - blank confrontation with history — all in stealth relation to the leopard - alive instant at the end of the brush.»

Where Prose can pass judgment on testimonies, giving or withholding a stamp, Immordino Vreeland is at the mercy of her cast of starry talking heads — among them Larry Gagosian, John Richardson, Edmund White, Calvin Tomkins and Robert De Niro — who, being human, are no less likely to mythologise than the subject they have been invited to demythologise.

In Calvin Tomkins» profile in The New Yorker in 1975, Parsons explained, «Painting is a compulsive thing with me.

In his New Yorker profile on the artist, Calvin Tomkins observed that «instead of borrowing images or styles, [Condo] used the language of his predecessors, their methods and techniques, and applied them to subjects they would never have painted.»

Werner also had a Fernand Léger with an impeccable provenance: the painting was commissioned in 1941 by Gerald and Sarah Murphy, the expat couple that lived in the south of France and inspired both F. Scott Fitzgerald's Tender Is the Night and Calvin Tomkins's Living Well Is the Best Revenge, and who later gave it to MoMA.

An essay on Rauschenberg and background material are in Calvin Tomkins, The Bride and the Bachelors: The Heretical Courtship in Modern Art (1965).

Calvin Tomkins first discovered the work of Robert Rauschenberg in the late 1950s, when he began to look seriously at contemporary art.

«I commend Calvin Tomkins, as Bernard Berenson did Vasari, for «being a singularly warm, generous, and appreciative critic.»»

-- «The New York Times Book Review» «As chronicler of the avant - garde for «The New Yorker,» Calvin Tomkins has specialized in rendering the esoteric doings of artists comprehensible.»

I would say that, intentional or unintentional, the touch is still mine, in the way that Marcel Duchamp explained it when he told Calvin Tomkins that his chance is his and someone else's chance is their own.

«Why Dana Schutz Painted Emmett Till,» ran a profile by Calvin Tomkins in The New Yorker.

In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment on West 10th Street in New York.

Left: Writer Calvin Tomkins and artist Laurie Simmons.

Mr. Hopps helped select the architect Renzo Piano to design it and, according to a 1991 profile in The New Yorker by Calvin Tomkins, requested flexible galleries «where you can turn daylight on and off.»

The first hardcover monograph on Albert York's work — featuring full - page color reproductions of over sixty works, essays by Bruce Hainley, Fairfield Porter, and Calvin Tomkins, and an illustrated chronology — will be published to accompany the exhibition.

Bradford pursues what he has termed «social abstraction», that is, «abstract art with a social or political context clinging to the edges» (Mark Bradford, quoted in Calvin Tomkins, «What Else Can Art Do?»

Then, as Calvin Tomkins recounted it, a «small carriage suddenly shot out from under the piano, its klaxon shrieking, and smoke and flames pouring from its rear end.

«The leading artists of Pollock's and de Kooning's generation,» Calvin Tomkins confirmed, «had been, almost without exception, aggressively male, hard - drinking, and heterosexual -LSB-...] The attention and money lavished on the newcomers [Rauschenberg and Johns] led to talk of «homointern,» a network of homosexual artists, dealers, and museum curators in league to promote the work of certain favorites at the expense of «straight» talents.»

In a 1995 New Yorker profile, Calvin Tomkins called York «the most highly admired unknown artist in America,» and two decades later his work remains unfamiliar to many people.

«Although de Kooning and Pollock made use of chance effects,» notes Calvin Tomkins in his book Off the Wall, «letting the paint run and drip in their spontaneous encounters with the canvas, they were not about to hand over the whole process to accident.»

As he once said to Calvin Tomkins of The New Yorker: «You have to have a good eye, but also a good ear.

Calvin Tomkins will engage in a public conversation with Menil Collection Director Josef Helfenstein at 7 p.m. on October 17, 2012.

Curator Lawrence Gowing spoke with Calvin Tomkins and Geoffrey T. Hellman in The Talk of the Town.

One step in this process was the publication of «The Materialist,» Calvin Tomkins» December 5, 2011 New Yorker profile of Andre.

Robert C. Morgan, ed., [The Warped Vision of Bruce Nauman, interview by Tony Oursler], John Hopkins University Press, Baltimore, pp. 310 — 313 Calvin Tomkins.

According to Calvin Tomkins, art critic for The New Yorker, «the leading artists of Pollock's and de Kooning's generation had been, almost without exception, aggressively male, hard - drinking, and heterosexual.»

(Gallerist NY) Chuck Close Does Obama a Solid - The very, very famous artist tells Calvin Tomkins how he finally persuaded the Obama campaign to let him sell a series of portraits of the president to fund their reelection drive, and how Close and Obama bonded during the sitting.

Closer to our own time, Calvin Tomkins, in his biography of Duchamp, describes a peripheral artist of Duchamp's circle of the late»20s in New York, a proto - performance artist who used to walk down Fifth Avenue with live birds pinned to her skirts, as being «unhampered by sanity.»

2014 Power 100; Calvin Tomkins; Art in Context IV Osei Bonsu; Allan Schwartzman; Great Collectors and their ideas: Thomas Girst; The Law and Its Ideas: Daniel McClean on the censorship of the Chapman Brothers sculpture Piggyback (1997); Ten exhibitions on through November you don't want to miss; Points of View; The Strip: Richard Graham; Gallery Girl

ARA You used an extract from Calvin Tomkins's interviews with Marcel Duchamp in one of the artworks for this issue.

The project benefited from the generosity of many individuals who knew and worked with Robert Rauschenberg, and who contributed their memories and insights: Brigid Berlin, Carolyn Brown, Jasper Johns, Brice Marden, Knox Martin, David Myers, Robert Petersen, David Prentice, Yvonne Rainer, Dorothea Rockburne, Rachel Rosenthal, Calvin Tomkins, Charles Yoder, and Susan Weil.

Measuring 23 feet by 80 feet, «Mural» maps the whirl of global trade and communications and was deemed «the most ambitious painting I've seen in a dozen years» by Calvin Tomkins of The New Yorker.

He saw the place for the first time when he was fourteen, on a car trip with his parents, and when he came back in 1956 to go to art school, driving from Oklahoma City with Mason Williams, there were no disappointments,» writes Calvin Tomkins in his 2013 New Yorker article Ed Ruscha's L.A. about the influence of the Californian city in the artist's career.

The catalogue, which first appeared as a supplement to the Times - Picayune on January 30, 1977, featured essays by Tennessee Williams and Calvin Tomkins, as well as artist interviews conducted by Liza Béar, Philip Glass, and Calvin Harlan.

Calvin Tomkins, 1985

The exhibition looks at the themes of women, maternity and power in art and visual culture, 1900 - 2015 and is accompanied by a major catalogue with texts by multiple authors including Calvin Tomkins, Whitney Chadwick and Gioni himself.

Calvin Tomkins, Rauschenberg, and Nan Rosenthal, Metropolitan Museum of Art, New York, 2006.

«Robert Rauschenberg and Calvin Tomkins: A Conversation about Art and Life,» moderated by Nan Rosenthal, Metropolitan Museum of Art, New York, February 5, 2006

Still from «Robert Rauschenberg and Calvin Tomkins: A Conversation about Art and Life.»

«I was Albers's dunce,» Rauschenberg later told his biographer Calvin Tomkins, «the outstanding example of what he was not talking about.

Julie Mehretu's Arion Edition Calvin Tomkins's profile of Julie Mehretu in the New Yorker can be read online.

Last year, Mehretu's 80 - by - 23 foot mural for the lobby of Goldman Sachs was featured in a profile by Calvin Tomkins in the New Yorker, giving her recognition in all spheres of cultural and financial influence.

Calvin Tomkins: That would have been 1959.