Sentences with phrase «generation artists seems»

Decoding the roles that images play in an image - oriented culture, the work of Pictures Generation artists seems even more relevant than it ever was.

Not exact matches

What he seems to point out is a mode of art making that has spread among a predominantly younger and up - coming generation of artists.

That they are being appreciated now by more than a generation of younger artists seems absolutely appropriate.

That last statement would seem, for anyone familiar with the artist's work, surprising to say the least, since Sandback (1943 — 2003) could be considered, and not without reason, as the purest and most unsparingly geometric member of a rigorously formalist generation, a cohort that included Donald Judd, Dan Flavin, Richard Serra, and Sol LeWitt.

With their messy surfaces and trademark style, Neo-Expressionists seemed to dare canvas to live up to the artist's own dimensions, and they still do for Albert Oehlen and a younger generation in Germany.

While it's true that every artist expresses their own presence as well as the presence of the» subject» no matter what the medium or genre, the sort of rupture that existed between representational (mimetic) and nonrepresentational (gesture or phenomonological) in Carone's generation was so abrupt that it seems a good way of identifying the issues.

It seems that by contrasting nine artists of different generations, the gallery's intention is to emphasize a continuity of interest in formal aspects of the abstract artwork.

Given his spotlight - stealing video piece Re'Search Wait»S at the New Museum's 2009 inaugural «Younger Than Jesus» Triennial and his widespread critical acceptance as one of the most important artists of his generation, Ryan Trecartin seems to be a prudent choice for co-curating this year's Triennial «Surround Audience» alongside the Museum's in - house curator Lauren Cornell.

«What was revealing to me as a young curator was the schism that suddenly seemed to exist between my generation, of which Thelma was a definite leading light, and the generation of cosmopolitan, sophisticated, and accomplished artists who had never been properly foregrounded within American art history.

Even as recent years have seen a return to a focus on craft and the object and, sometimes, beauty, it seems that the ultimate triumph of Conceptualism has come in the form of younger generations who embrace the artist's role as that of universal creator.

Robert Ryman and Ellsworth Kelly were both working steadily, granted, but so distinctively as to be inimitable by younger artists — not that Heilmann seems to have ever resorted to simple mimicry, despite the frequency with which other artists of her generation have used it as a tool.

These artists seem to have performed the same function as the first generation architects have for later practitioners: they opened up possibilities and encouraged radicalisation.

Latham, sculptor, conceptual artist and intellectual provocateur died in 2006, but his reputation seems to be getting ever stronger as a younger generation of artists catch up with his ideas.

«Mirrored», presents the work of six artists from different generations and includes the spectacular Onda Volante (Flying Wave, 2017), a dove - grey fibreglass installation by the septuagenarian Norwegian sculptor Siri Aurdal that seems to float away from Sverre Fehn's rectilinear architecture.

It seems highly unlikely that Parker will have anything pungently direct to say about Corbyn, May or an election that could quake the political landscape, as might other conceptual artists of her generation such as Mark Wallinger or Jeremy Deller.

When artist Jean - Baptiste Bernadet began to think of an exhibition of painters of his generation gathered around the work of Jean Degottex, whom he knows and appreciates since his formation at the Beaux - Arts, the unique format of the paintings in this series seemed a good starting point.

The title of the show can be translated as «struggles against delineation,» which seems appropriate given that the works on view are made from a variety of mediums and by artists of varying generations.

When I bought the house and studio in 2010, it seemed animated with stories about renowned artists from previous generations.

If one worries that work by older artists might seem outdated next to pieces by fresh art - school grads, it pays to remember that the younger artists are often deliberately putting their work in conversation with the previous generation's achievements.

It might also seem that it would be more accurate that this commentary be called Reprising Postmodernism and Conceptualism, since Hardinger and Rooney, among many other artists of their generation, make each object the subject of a contextual scheme, and for Hardinger an eco-political one.

The generation of artists known as the Imagists who succeeded the Chicago surrealists have seemed to appear sui generis from a prior cultural vacuum.

Something of their assured abandon seems instep with the generation of artist emerging now who are increasingly producing things that, formally and conceptually, don't point outward to «art world» discussions, but inward to the larger dialogue of making, thinking, and being

While the pairing of these two major artists, staunchly divergent in generation and media, might seem initially unlikely, their distinct work participates easily in aesthetic and intellectual conversation.

He cared passionately about certain things and was a powerful force... but it just seems to work better when you have artists who are a new generation, or indeed erring on the younger side, really.»

Drips, gestures, and splatters of paint in his work have led many critics to identify him as a second - generation Abstract Expressionist, but Francis has also been compared to Color Field artists on the basis of large, fluid sections of paint that seem to extend beyond the confines of the pictorial surface.

Fragmented figures in some works — «Generationsfußtritt / Generationsprobleme II» (Generational kick / Generation problems II)(1998 / 1999) and «Be-Ziehungen VI» (Re-lations VI)(1994), for example — seem to suggest the artist confronting questions of knowledge, language and generational conflict.

He was one of a handful of artists who, building on the success of the Baldessari generation, caught the attention of Europe like no other previous and secured once and for all L.A.'s global ascendency — without ever really seeming to try.

Intuitive pairings of works from a diverse range of artists, whose careers and lives span multiple generations, places, skills and training and practices both decontextualize and recontextualize our understanding of art and artistic practice, making connections where none seemed to exist and breaking with conventions that have historically limited dialogue.

A younger generation of artists and galleries showing work on Manhattan's Lower East Side have brought this discussion to the forefront, and critics, collectors, and collectors seems to have taken notice.

From today's vantage point, much of the work introduced by the «New Image Painting» show seems tentative, caught between two generations of artists.