Sentences with phrase «pop artists feel»

I don't think Pop artists feel that way.

Not exact matches

Even in a time when black pop artists have grown especially political, the work feels critical.

The way the scene plays out, though, feels like a lazy narrative cheat, especially given a pop landscape in which older artists of all stripes lust after the very sort of back - to - basics career reboot that renders Danny inexplicably paralyzed with fear.

The format of Rythm Mastr, whether as an animated feature, graphic novel, or multi-panel sequence on newsprint, may feel like a departure from Marshall's painting practice, more tethered to pop culture than the high - brow arena where the artist's large - scale works fetch seven figures.

The onslaught of these dreamlike hardedge pop works derived from Robert William's successful magazine catering to street artists the world over is enough to make me feel sorry for Artforum, which feels so old and tired, like a hobbled circus elephant, here at ArtPad.

The impact that Swiss video and installation artist Pipilotti Rist has made over the past two decades or more is hard to overestimate, as her influence is felt in the work of a host of younger artists, as well as in videos by mainstream pop stars like Beyoncé.

He would show with Castelli annually until 1963, when he left the gallery, feeling that he could not remain on a roster that was becoming crowded with Pop artists and Minimalists.

Many of the artists I encountered were peers from New York and abroad, and I felt as if being able to show at these fairs was an attainable goal insofar as they tended to reflect the kind and caliber of work on display at many a gallery in Bushwick, the Lower East Side, and Chelsea as well as at pop - up and grassroots venues elsewhere.

Rejecting the label «pop artist» routinely attached to Caulfield, Mr Hodgkin said: «I always thought of him as a classical artist because of the way he made of his feelings a kind of monument.

Pop's practitioners become defined as artists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young participants in the politicized 1960s counterculture.

Between works displayed on cellphones or vintage game consoles, books, flat screens, projections, gifs, slide projects, a custom carpet job, wallpaper, a sculpture here and there, a few items from each artists» clothing line, and a single repeated verse from a generic pop song fading in and out of the exhibition space, I do not feel particularly set - up to pay close attention to anything.

«The pop art thing... I felt like the artists who were associated with that were artists that were frustrated by the tone of art being created at that time, which was Abstract Expressionism,» Ed Ruscha told Observer.

But the reaction on social media certainly reflects how we all feel today: «He was an extraordinary artist, and a true original,» tweeted The Rolling Stones... Iggy Pop remarked: «David's friendship was the light of my life.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

It was a new academy almost, it took the position of academic art, and I gather you feel that in part the Pop artists, whoever they may be, were responding or reacting against that, beyond any involvement with life and commonplace objects, these being tools or whatever they may be, that in fact they were responding within a fine arts context to what was then being held up as the way, the correct way to do something.

Having represented Ms. Schneemann for nearly 20 years, P.P.O.W. felt it needed assistance in giving her more global exposure, said Wendy Olsoff, P.P.O.W.'s co-owner, adding that the artist's influence extends to pop stars like Lady Gaga and Miley Cyrus and contemporary artists like Marina Abramovic.

Think of Formica, for example, the signature material used by Richard Artschwager, who, along with the master of colored tape, Jim Lambie, may be cited as a primary member of Mr. Woods's extended artistic family.But while Mr. Woods may be construed as a Pop artist, you get the feeling that his intentions are not merely satirical....»

Not only will International Pop remain a scholarly reference for future exhibitions and research, but the range of page colors and textures, to the variety of layouts and organizational methods used throughout the catalogue, succeed in capturing the feel of Pop in every spread, succinctly bringing together a large number of artists, artworks, and several countries to tell a multi-faceted and open - ended narrative of Pop Art across the world.

Using the humblest of materials — pens, pencils, and artist board — Campuzano transposes text into blocky letterforms broken up by graphic design conventions that evoke the felt banner aesthetic of the post-Vatican II Catholic Church or the Catholic pop of Sister Corita Kent.

«In a rare interview at his home on Vinalhaven, Maine, the artist talks about Pop art, politics and his conflicted feelings over his most famous work, LOVE» — The Art Newspaper

BW You obviously felt friendlier to the Pop artists than to the Abstract Expressionists.

We are pleased to include a clutch of important works by iconic Pop artists Claes Oldenburg, Frank Stella, Jasper Johns, James Rosenquist, and Richard Pettibone, each of which feel entirely novel and of the moment, even though many of these pieces were created several decades ago.

If you're seeking works by Fairey or any Pop, Op or Abstract Expressionist Artists, feel free to contact us for assistance.

However, the European Pop artists never really got rid of the idea of illusionistic space, and I for one felt closer to the use of colour by the Abstract Expressionists.

Amongst the mastery of brand is the glowering ghost - like portraits of Joseph Beuys — haunting, enigmatic, and seemingly rather personal — the work feels like it has the personal touch of the artist, rather than the work of that factory mass production — this is the catholic Pop Art master's true obsession with mortality floating to the surface, as Beuys stares out of the work; hollow and implacable.

I found myself feeling comforted, as if I had just popped a valium, while looking at the articulation of many «visions» the hermit artist professed to have seen that influenced all of his paintings — that is unless he was expressing his conflicted sexuality which laid bare an adjacent vulnerability to the vision pieces.