Sentences with phrase «generation artists john»

Since then, there have been many artists who've used photo collage, like Pictures Generation artists John Baldessari and Barbara Kruger, as a means for expressing the ubiquity of images and bold feminist statements, respectively.

Not exact matches

Congressman John Lewis, an American icon and one of the key figures of the civil rights movement, joins co-writer Andrew Aydin and artist Nate Powell to bring the lessons of history to vivid life for a new generation, urgently relevant for today's world.

By chance, I was afforded a ringside seat on this burgeoning scene when I went to work as a cook for Mickey Ruskin, founder of Max's Kansas City in the 1960s, the favorite watering hole of both the denizens of Warhol's Factory and the generation of Minimalists and older artists that included John Chamberlain, Carl Andre, Richard Serra and Brice Marden.

More gentle artists like [Richard] Pousette - Dart or John Ferren of that generation were never as well known as the kind of the primary six — Motherwell, Rothko, etc..»

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

It will start with the great American artists of the first generation such as Richard Estes, John Baeder, Robert Bechtle, Tom Blackwell, Chuck Close and Robert Cottingham, then move on to Hyperrealism in Europe and to artists of subsequent generations.

The American sculptor John Chamberlain, known for using parts of wrecked automobiles in his volumetric, abstract work, is widely considered one of the most important artists of the 60s generation.

In the last two issues of SFAQ writer and curator John Held, Jr. annotated a series of interviews Paul Karlstrom did with the visual artists of the Beat Generation — our friends at Ever Gold...

Painters such as Noel Mahaffey, John Moore, Elizabeth Osborne and Warren Rohrer tackled traditional subjects such as the landscape, the figure or interiors with new expressive energy - stirred by Pop, and influences from an older generation of artists such as George Segal, Agnes Martin, Alice Neel and Alex Katz.

Collaborating glass sculptors John Littleton and Kate Vogel are influential artists in what is referred to as the Third Generation of the American Studio Glass Movement.

In the 1970s, Williams studied at the California Institute of the Arts under the first wave of West Coast conceptual artists, including John Baldessari and Douglas Huebler, only to become one of his generation's leading conceptualists.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Two generations of artists are featured — from Maria Abramovic, Diana Al - Hadid and Dan Colen to John Baldessari, Chuck Close and Sheila Hicks — including 10 of the most celebrated black artists working today: Bradford, Simpson and Gates, along with Rashid Johnson, Artis Lane, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Wangechi Mutu and Mickalene Thomas.

Canadian artist Kelly Richardson is one of the leading representatives of a new generation of artists working with digital technologies to create hyper - real, highly charged landscapes, alongside figures such as John Gerrard and Saskia Olde Wolbers.

2005 The Last Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for Contemporary Art, Long Island City, New York, USA The Disasters of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art of Aggression: Iraqi Stories and Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals Contemporary Arts Center, Buffalo, New York, USA 150 artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner Contemporary Art, Washington, USA 2001 How is everything?

The collection includes works by artists associated with the loosely knit group known as the «Pictures Generation,» such as Cindy Sherman and John Baldessari, who appropriated images from the mainstream media, as well as several members of the Düsseldorf school of photography.

For another, at 30 years old, he's a generation or two younger than the influential artists — like John Armleder, Olivier Mosset, or Fischli / Weiss — that the space has often shown.

This month's program includes the premiere of GENERATION SHIP, a site specific performative tour of Mana conceived by Caitlin Baucom and performed by a community of Brooklyn based artists; an artist talk with Oliver Herring in conversation with International Sculpture Center's Executive Director Johannah Hutchinson; and Opening The Mind's Eye, an ekphrastic poetry workshop in the exhibition John Chamberlain: Photographs.

Instead, he championed the new generation of post-abstract Expressionist artists, such as John Chamberlain, Claes Oldenburg, and Frank Stella, whose work was moving away from what he viewed as outmoded European aesthetic ideals.

Writing in Bomb magazine, the artist Archie Rand has persuasively argued that Fishman belongs «in the last open slot of the first generation of Ab Ex,» while at the same time comparing her to such dissimilar painters as John Sloan, Frederick Remington, Bram van Velde, Pierre Bonnard, and Georges Braque.

Michael Snow falls within the tradition of artists who work in more than one medium - those of an earlier generation such as Marcel Duchamp, Man Ray and Laszlo Moholy - Nagy, and contemporaries like Vito Acconci, John Baldes - sari, Bruce Nauman and Richard Serra.

Alongside works by the first generation of great American Hyperrrealists, including Richard Estes, John Baeder, Tom Blackwell, Don Eddy, Ralph Goings and Chuck Close, are European paintings and works from contemporary artists influenced by the movement.

In acquiring works by Cindy Sherman, John Baldessari, Sherrie Levine and Ericka Beckman, the museum has expanded its collection of the 1980s «Pictures Generation» artists.

Clement Greenberg, the American art critic, thought Milne was, with American painters John Marin and Marsden Hartley, among the three most important artists of his generation in North America.

A third generation artist, Jesse's love for art stemmed at an early age, mostly from the influence of his father, nationally recognized artist John Powell.

De Kooning / Dubuffet: The Women (1991) was the first full - scale exhibition to pair both artists» series of women, painted almost simultaneously on each side of the Atlantic; De Kooning / Dubuffet: The Late Works (1993) explored affinities in the final works of the artists, and Willem de Kooning and John Chamberlain: Influence and Transformation (2001) examined two Abstract Expressionists working across generations and mediums.

He began his career as a writer, and founded and directed the short - lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists — including Donald Judd, Sol LeWitt, and Robert Smithson.

As the survey «John Chamberlain: Choices,» curated by Susan Davidson and recently opened at the Solomon R. Guggenheim Museum in New York, demonstrates, Chamberlain deployed all of these materials with an exuberance, acuity, and openness to sculpture's social valences that was to influence generations of artists.

The international Board that oversees the Future Generation Art Prize includes chairman Victor Pinchuk, the four Mentor Artists, Eli Broad, Dakis Joannou, Elton John, Miuccia Prada, and art museum directors Richard Armstrong (Solomon R. Guggenheim Foundation and Museum), Glenn D. Lowry (The Museum of Modern Art), Alfred Pacquement (Musée nationale d'art moderne, Centre Georges Pompidou) and Sir Nicholas Serota (Tate).

Organised by poet, visual artist and Performance Poetry co-founder John Giorno, along with Mark Beasley, the event explores a contemporary generation's use of the internet and social media, mirrored by Giorno's poetic use of technology.

He is considered as an important figure among the first generation of Conceptual artists — including Bas Jan Ader, Michael Asher, John Baldessari, Bruce Nauman, Allen Ruppersberg, Edward Ruscha, and William Wegman — that emerged in Los Angeles during the late 1960s and 1970s.

1994 The Art of Betye Saar and John Otterbridge, 22nd Biennial of Sao Paulo, Museum of Modern Art, Sao Paulo, Brazil Urban Paradise: Gardens in the City, Paine Webber Art Gallery, New York, NY The Sacred and the Profane, Jan Baum Gallery, Los Angeles, CA The US Delegation Fifth Biennial of Havana, Wilfredo Lam Center, Havana, Cuba Generation of Mentors, National Museum for Women in the Arts, Washington, DC 25 Years of African - American Art, The Studio Museum in Harlem, New York, NY; The Wood Street Galleries, Pittsburgh, PA; The Art Museum, Rhode Island School of Design, Providence, RI; The Scottsdale Art Center, Scottsdale, AZ; Munson - Williams - Proctor Institute, Utica, NY; Modern Art Museum of Fort Worth, Fort Worth, TX; The New York State Museum, Albany, NY; The Mexican Museum, San Francisco, CA; Tufts University Art Gallery, Medford, MA; Heckscher Museum, Huntington Long Island, NY; The Lowe Art Gallery, University of Miami, Miami, FL Passionate Visions of the American South: Self - Taught Artists from 1940 — the Present, University Art Museum & Pacific Film Archive, Berkeley, CA; New Orleans Museum of Art, New Orleans, LA; San Diego Museum of Art, San Diego, CA; Corcoran Gallery of Art, Washington, DC; North Carolina Museum of Art, Raleigh, NC Relatively Speaking: Mother and Daughters in Art, Sweet Briar College Art Gallery, Sweet Briar, VA; Rahr West Museum, Manitowock, WI; Snug Harbor Cultural Center, Staten Island, NY; Rockford Museum of Art, Rockford, IL, Hofstra University Museum, Hempstead, NY African American Women Prints, Brandywine Workshop's Printed Image Gallery, Philadelphia, PA

An icon of the Los Angeles art scene, he is associated with a generation of artists that includes Mike Kelley, John Miller and Tony Oursler, all of whom studied at Cal Arts in the 1970s.

The artists Blum has brought into his venture have been among the most renowned of their generation — from Alex Katz and Louise Bourgeois to Eric Fischl, James Turrell and John Baldessari.

Artists like John Altoon, Wallace Berman, Bruce Conner, Jay DeFeo, George Herms, and Edward Kienholz were part of a «Beat» generation, whose social critiques would eventually be incorporated into the counterculture and social protest movements that shaped the second half of the 20th century.

However, he was also a draftsman of rare ability who extended the traditional boundaries of drawing technique, inspiring an entire generation of British artists such as John Constable (1776 - 1837) and J. M. W. Turner (1775 - 1851).

John Russell, who contributed elegant, erudite art criticism for more than a half - century to The Sunday Times of London and The New York Times, where he was chief art critic from 1982 to 1990, and who helped bring a generation of postwar British artists to international attention, died Saturday.

In the 1970s and early 1980s, he studied at the California Institute of the Arts where he received his B.F.A. and M.F.A. under the first generation of West Coast conceptual artists including John Baldessari, [3] Douglas Huebler, and Michael Asher.

Also at Tate Britain, Art and Photography from the Pre-Raphaelites to the Modern Age will explore the relationship between pioneering early photographers and Pre-Raphaelite, Aesthetic and Impressionist artists, including works by John Everett Millais, John William Waterhouse, James Abbott McNeill Whistler, Julia Margaret Cameron and Henry Fox Talbot.Conceptual Art in Britain 1964 - 79 will trace the course of conceptual art from its genesis in the early 1960s and through the 1970s, showing the origins of a movement that was profoundly influential on later generations of artists.

Unseen Warhol, (contributor), Rizzoli, 1996 Rizzi, John Szoke 1997 Glamour, Style, Fashion: The Warhol Look, Andy Warhol Museum, 1997 Blank Generation Reviseted: Early Days of Punk Rock, Schirmer, 1997 SOAPBOX: Essays Diatribes Homilies and Screeds 1980 - 1997, Imschoot, 1998 Artist / Author: Contemporary Artists Books, (contributor), DAP, 1998 Basquiat, Tony Shafrazi Gallery, 1999 The Style Guy, Ballantine Books, 2000 Human Nature (dub version), 2001, Greybull Press Anh Duong, Assouline, 2001 People After Dark, Roxane Lowit, (introduction,) Assouline, 2001 New York Beat, Petit Grand, 2001 New York Expression, Bergen Kunstmuseum 2002 Photographs of Ron Gallela, Greybull Press, 2002 Tom Sachs: Nutsy's, Guggenheim Museum, 2003 Shriners, with Lisa Eisner, Greybull Press, 2004 Andy Warhol: The Late Works, (contributor), Prestel Verlag, 2004 Yours In Food, (contributor), John Baldessari, Princeton, 2004 Maripolarama, Powerhouse, 2005 People, Roxane Lowit, Assouline, 2005 Public Access: Ricky Powell Photographs 1985 - 2005, Powerhouse, 2005 Pam: American Icon, Stellan Holm Gallery, 2005 James Nares: New Paintings, Kasmin, 2005 Warhol's World, Steidl, 2006 The Jean - Michel Basquiat Show, Skira, 2006 Katlick School, with Sante D'Orazio, TeNeus, 2006 Jean - Michel Basquiat: 1981, The Studio of the Street, Charta / Deitch 2007 Richard Prince, Guggenheim Museum, 2007 Out of Mind, Shawn Mortensen, Abrams, 2007 Leadbelly: A Life in Pictures, Steidl, 2008 Warhol by Gallela: That's Great, Monacelli, 2008 John Lurie, A Fine Example of Art, Powerhouse, 2008 Acid Candy, Miles Aldridge, Reflex Editions, 2008 Christopher Wool, Taschen, 2008

Embraced by the first generation of Abstract Expressionist painters on the East End of Long Island, she represents one of the last living links to central figures in the avant - garde of 20th century American art, including such artists as Willem De Kooning, Philip Pavia, Ibram Lassaw, John Little and Balcomb Greene.

RH: I think about second - generation Pop artists like Tom Wesselmann, John Wesley, Ed Ruscha, and Rosalyn Drexler.

John Miller and Aura Rosenberg featured in Gary Indiana's feature article about the «Pictures Generation» These 80s Artists Are More Important than Ever in the New York Times Style Magazine.

This film encapsulates the history, wit, and importance of John Baldessari's conceptual work and his 60 - year career, which has inspired generations of artists.

Cinema also connects him to artists of other generations such as John Stezaker and before that Richard Hamilton.

They are: «Fritz Leddy, Part II» in the Moran Gallery; «Frank Wimberley: Winner of the 2010 Annual Guild Hall Artist Member Exhibition» in the Spiga Gallery; «John Berg» exhibitions around 95 album covers he helped create as Art Director for Columbia Records in the Wasserstein Gallery and «Abstraction: Selections from the Guild Hall Museum Permanent Collection» featuring first generation abstract expressionism artists including Jackson Pollock, Lee Krasner, Willem de Kooning, Ibram Lassaw and more.

Williams studied at the California Institute of the Arts under the first wave of West Coast conceptual artists, including John Baldessari and Douglas Huebler, only to become one of his generation's leading conceptualists.

The exhibition presents three interwoven themes, starting with the generation of artists who came of age between the 1930s and 1960s, including John Biggers, Elizabeth Catlett, Melvin Edwards, and Loretta Pettway.