Sentences with phrase «graefe as art critic»

My concern is to draw a connection between the broader situation Gioia describes and the dealer's observation, which cuts to the heart of who I am, as a Christian, and the work I do as an art critic, curator, and art historian.

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

Eric's first journalistic forays were as an arts critic, covering film and music for the Stanford Daily; his first feature was about artists - in - residence at the San Francisco dump.

Effective side roles include those of Terence Stamp as the art critic, Danny Huston as the reporter, Jon Polito as the night club owner, Jason Schwartzman as the owner of an art gallery, James Saito as the judge in Honolulu's federal court, Madeleine Arthur as Margaret's teen daughter, and Krysten Ritter as Margaret's best friend DeAnn.

Petit also looks at Farber as a painter and an art critic and Hickey as an art critic, a resident of Las Vegas, an appreciator of Farber, and a commentator on American culture.

Her husband John Ruskin — famous to this day as an art critic, a writer on sundry subjects, and a watercolor painter — refused to consummate the marriage throughout its six years» time.

As art critic for Willamette Week, Portland's highly regarded alternative weekly newspaper, Speer has strolled through galleries in and around the Oregon city for more than a decade.

As an art critic, Speer approaches gallery exhibitions in two ways.

Porter speaks of his family background and Harvard education; the Art Students League; his involvement with Marxism and his work as an art critic for «Art News» and «The Nation».

Throughout the preceding decade, Clement Greenberg, also a former poet, had established a reputation as a leftist critic through his writings with The Partisan Review — a publication run by the John Reed Club, a New York City - centered organization affiliated with the American Communist Party — and his time as an art critic with The Nation.

In Robert Storr's reflection of his life as an art critic, he compares the art critic to a bottom feeder in the hierarchy (or better - worded hegemony) of the art world.

As art critic Donald Kuspit pointed out: «The individual is their focus; Chia is the emblem of sustained individuality in an alien modern world — not only the individuality of the artist but of every person.»

I have written about art for a number of years, specializing in first - person art criticism as art critic for the Village Voice, then in the Soho News.

As an art critic, he has written for Frieze, Siski, and is a contributing editor of Artforum International.

As an art critic, Sandler did not proclaim works to be good or bad in the ex cathedra manner of Clement Greenberg.

He was first publicly recognized as an art critic, writing reviews for Arts magazine from 1959 — 65.

As art critic Lawrence Downes wrote: «Tomlinson employs classical anatomy as a vehicle for gestural abstraction.»

The Arts Council had invited Andrew Forge, a painter as well as an art critic, to organise the exhibition which was the second in a projected series of biennial surveys.

In Sven Lukin's shaped canvases of the 1960's, the artist «transforms windows into objects,» as the art critic Frances Colpitt writes.

After working in Europe as an art critic and independent curator during the 1980s and 1990s, Christov - Bakargiev was senior curator at P.S. 1 Contemporary Art Center from 1999 to 2001 (she was a primary force behind and co-curator of the inaugural «Greater New York» exhibition at P.S. 1 in 2000).

For others, such as art critic Robert Hughes, postmodernism represents an extension of modernism.

The film features numerous interviews with artists such as Marina Abramovic for instance, as well as art critics, historians and audio interviews with Peggy herself.

As an art critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art International.

Rosenberg, born in Brooklyn and educated at City College of New York (he later earned a law degree from St. Lawrence College) flourished as an art critic somewhat later than Greenberg.

In the late 1950s and early 1960s he established a reputation as an art critic, arguing that painting was, in his word, «finished.»

Working as an art critic for magazines such as Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

As art critic Jerry Saltz said in his reference to spending the night in the Guggenheim Museum foyer for Carsten Holler's Revolving Hotel Room (2008), «I've always wanted to have sex in the museum.

While Bellamy exhibited work by both artists, Judd's first introduction to the space was as an art critic, in which he reviewed shows in the space beginning in 1960.

Twice winner of the College Art Association award for distinguished art criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazine.

O'Doherty served as an art critic for the New York Times and as editor - in - chief of Art in America magazine.

Working as an art critic for the magazines Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

Donald Judd began writing on art and related matters in 1959 when he accepted a job as an art critic for the magazines Arts, Arts Magazine, and later Art International.

After quitting his job as an art critic in 1965, Judd continued to channel these qualities into his writings.

Another book, Meier - Graefe as Art Critic is an art historical study, and was first published by Prestel Verlag in Munich in 1973.

As the art critic and historian Peter Plagens reminds us in this excerpt from Phaidon's Bruce Nauman: The True Artist, however, Nauman nevertheless managed to leave his mark on the New York art scene of the 1960s with his gamechanging performance videos.

[1] His career started after moving to New York in 1967, where he worked as a curatorial assistant at the Guggenheim Museum and as an art critic, writing for Art News and Art International.

As an art critic and independent curator, he successfully contributes to the recognition of a new generation of artists.

But from 1967 onward, as art critic of The New Yorker, he reached a vastly larger public.

Beginning as an art critic and then a painter, Judd moved into three dimensions with the box - like structures he produced in the early 1960s, either arranged on the gallery floor or mounted on the wall.

As an art critic, Marc - Olivier Wahler regularly writes on contemporary art and its theoretical problematic in international magazines, academic books, and exhibition catalogues.

Lupe Álvarez has taught at several universities in Ecuador where she currently resides, and serves as an art critic and independent curator.

As art critic Natilie Hareen wrote in Art Forum about Monzon's work, «Seemingly all the formal painting devices from the last fifty years have been brought to bear in Monzon's canvases: the gestural brushstroke; the grid as found compositional device; the chance - determined stain; and the diagrammatic line.»

The first writers to acquire an individual reputation as art critics in 18th - century France were Jean - Baptiste Dubos with his Réflexions critiques sur la poésie et sur la peinture (1718)[17] which garnered the acclaim of Voltaire for the sagacity of his approach to aesthetic theory; [18] and Étienne La Font de Saint - Yenne with Reflexions sur quelques causes de l'état présent de la peinture en France who wrote about the Salon of 1746, [19] commenting on the socioeconomic framework of the production of the then popular Baroque art style, [20] which led to a perception of anti-monarchist sentiments in the text.

Twice winner of the College Art Association award for distinguished Art Criticism, Rose has been a contributing editor to Art International, Artforum, Arts, and Art in America as well as an art critic for New York Magazine.

As an art critic, he is contributing editor for Art Nexus, and NY correspondent for Flash Art.

She currently works as an art critic for L.A. Weekly and contributes to a number of other publications, most recently CARLA, Photograph Magazine, East of Borneo and L.A. Review of Books.

There's more to a Brice Marden painting than meets the eye, as Art Critic Kenneth Baker found out while spending time with the artist for today's cover story.

She currently works as an art critic for L.A. Weekly, and contributes to a number of other publications, most recently CARLA, ARTNews, East of Borneo, and L.A. Review of Books.

You do not understand whole movements of painting such as Abstract Expressionism yet you earn a living as an art critic.

From the late 1950s, Judd began to make a name for himself as an art critic rather than as an artist.