Sentences with phrase «times art critic»

Previous guests have included artists Richard Serra, Chris Burden, Shirin Neshat and Mark Bradford, Pulitzer Prize - winning biographer Mark Stevens, and Los Angeles Times art critic Christopher Knight.

It is this continued commitment to both accessibility and risk - taking that prompted New York Times art critic Roberta Smith to declare ICA «among the most adventuresome showcases in the country where art since 1970 is concerned...»

The New York Times art critic John Canaday was highly critical, but Clement Greenberg proclaimed abstract expressionism in general and Jackson Pollock in particular, as the epitome of aesthetic value, enthusiastically supporting Pollock's work on formalistic grounds as the best painting of its day and the heir to an art tradition - stretching back to the Cubism of Pablo Picasso, the cube - like pictures of Paul Cézanne and the Water Lily series of Claude Monet - whose defining characteristic is the making of marks on a flat surface.

In 2008, The New York Times art critic Roberta Smith called Ruby «one of the most interesting artists to emerge in this century.»

The artist's wife, Danna Ruscha, posted the following comment on the Facebook page of L.A. Times art critic Christopher Knight, beneath a piece he wrote on the pivotal role of artists in shaping MOCA historically and the warning sent by the current exodus:» Christopher Knight, Ed has resigned.

Times art critic Christopher Knight had a gander and reports that the reinstallation of the collection marks a significant turning point: a «savvy» rearrangement that «represents a step forward in the museum's confidence.»

(by Helen Harrison, the New York Times art critic and the Director of Pollack - Krasner House)

Los Angeles Times Art Critic Christopher Knight called it»... a tight, well - selected exhibition [that] sets a high standard, rooting art in the era's social landscape.»

In a review of the opening, Los Angeles Times art critic Christopher Knight noted the artwork's «seamless fusion of bold geometric shapes, crisp composition and saturated colors grabs you by the lapels....

In 2010, New York Times art critic David Belcher wrote that comparisons between Rothenberg and Georgia O'Keeffe had «become hard to avoid.»

Through fantastical, emotionally wrenching artwork — described by New York Times art critic Holland Cotter as «a cross between a children's book and a sexually explicit cartoon» — Kara Walker explores the many intersections of race, gender, and sexuality throughout history.

New York Times art critic Roberta Smith [1] has noted him as one of the most daring and independent experimentalists of the postwar international art scene in the 1950s.

Last fall Times art critic Christopher Knight called the Hammer's chief curator position «something of a revolving door.»

That statement, and others like it, written by The New York Times art critic Ken Johnson, has provoked the ire of fellow critics, artists, and Times readers alike.

L. A. Times art critic Christopher Knight comments, «Melancholy does not merely waft into the atmosphere from Kristen Morgin's elaborately crafted clay, wire, and wood sculptures.

Los Angeles Times Art Critic Christopher Knight cites a striking pairing of works in his review of the show:

New York Times art critic Holland Carter wrote that «The drama is in the subtle chemistry of complementary colors, which makes the geometry glow as if light were leaking out from behind it.»

In October 2013, The New York Times Art Critic Roberta Smith wrote that his most recent project was «A tour de force that showcases his considerable talents for satire, stand - up, endurance art, and painting.»

• Ken Johnson, NY Times art critic and author of Are You Experienced: How Psychedelic Consciousness Transformed Modern Art, gushes over Terry Winters new paintings, calling them «psychedelically thrilling.»

Described by New York Times art critic Holland Cotter as «a classic artist's artist and one of our few important practicing history painters» Saul is best known for his paintings depicting exaggerated, provocative images of pop culture ranging from well - known art references to political icons.

New York Times art critic Ken Johnson wrote that Downes «paints beautiful pictures of ugly places.»

The New York Times art critic Roberta Smith reviews «Live and in Color,» Derrick Adams «s exhibition of collages inspired television images at Tilton Gallery.

New York Times art critic, Roberta Smith, said that to Kent Wolgamott recently and the meaning of her statement was brought home today in Sally Mann's essay on her experience of being portrayed as a negligent, even exploitative, mother in the aftermath of this New York Times Magazine profile (above.)

More on the show from LA Times art critic, Christopher Knight:

L.A. Times art critic Christopher Knight has called Schimmel «a prime reason for the museum's stellar international reputation.

Times art critic Christopher Knight praised the Claremont Museum of Art for making «just the right choice for its inaugural exhibition» in his review of a 42 - year survey of the artist's work, also in 2007.

New York Times art critic Holland Cotter described Pauley's work as the most striking and unorthodox in the exhibition Bird Flew, curated by Robert Storr, at Tribes gallery in NY.

According to a review by Irish Times art critic Desmond MacAvock, O'Neill had always shown the greatest consistency of manner, style and subject matter of the Belfast school of contemporary Irish painting.

Los Angeles Times art critic Christopher Knight notes that the 10 feet - high and 30 feet - wide paintings point to the resistance of the medium to deskilling: «Within the rectangle of a painting, whether on paper a few inches square or wood panels the size of a ballroom wall, an artist can exert the absolute power — the Late Western Impaerium — of individual imagination.»

The Times art critic, Rachel Campbell - Johnston described the exhibition as «embarrassing».

The richly textured, seductive paintings of German artist Neo Rauch are marked by a «distinctive Pop - Surrealist - Social Realist style,» as described by The New York Times art critic Roberta Smith in 2002.

He was one of eight Finalists being considered for a one man show, in the Santa Barbara Contemporary Arts Forum - 2002, an event jurored by noted Los Angeles Times Art Critic David Pagel.

There is also a beguiling room - sized installation by Hank Willis Thomas that recasts the symbols of the Confederate flag in the colors of black nationalism — and projects them in tune with a soundtrack of spoken - word audio (a piece that Times art critic Christopher Knight describes as «enthralling.»)

On July 22, Roberta Smith, the New York Times art critic, published an article titled «A Los Angeles Museum on Life Support.»

In the work of Dutch artist Jan Schoonhoven, wrote The New York Times art critic Roberta Smith in 1999, «clarity and purity reign.»

Critics and the public applauded her 2015 retrospective at the Institute of Contemporary Art in Boston, and New York Times art critic Roberta Smith has called her ceramic work «sexy, devout, ugly and beautiful all at the same time.»

It is interesting to note that the response from critics to the Whitney Biennial at the time was brutal: LA Times art critic Christopher Knight described it as «a Biennial that puts its faith in a gruesome kind of art, which perceives the audience as morally, socially and intellectually deficient, and in desperate need of immediate artistic treatment.

[9] Her visionary work, according to The New York Times art critic Roberta Smith, sees painting as multipurpose.

When LA Times art critic William Wilson said that he had not attended the Brockman Gallery because he was not interested in writing about group shows (a statement easily refuted), John Outterbridge responded by saying, «Mr. Wilson, why don't you honestly tell everyone that you have not come to Brockman Gallery simply because you don't come on that side of town?

«There's no more Clement Greenberg — it's over,» said New York Times art critic Holland Cotter earlier this month at The College of Saint Rose in Albany.

Kaprow's 1959 «18 Happenings in 6 Parts» «involved an audience moving together to experience elements such as a band playing toy instruments, a woman squeezing an orange, and painters painting,» according to the artist's 2006 obituary by New York Times art critic Holland Cotter.

The term was coined by writer, curator and Los Angeles Times art critic Jules Langsner, along with Peter Selz, in 1959, to describe the work of painters from California, who, in their reaction to the more painterly or gestural forms of Abstract expressionism, adopted a knowingly impersonal paint application and delineated areas of color with particular sharpness and clarity.

New York Times art critic, Phyllis Braff, awarded Peter «Best in Show» at an international juried exhibition, Abstraction 2003.

«This is not an issue of gender inequality like Christopher Knight painted it,» a former MOCA employee who wished to remain anonymous told Hyperallergic, referring to the LA Times art critic.

This panel at FIT will bring together a fairly diverse group — art dealer Gavin Brown, artists Peter Halley and KAWS, and New York Times art critic Roberta Smith, with our very own Hrag Vartanian moderating — to examine the trends of large - scale art and art as spectacle.

Since the mid-1970s, Susan Rothenberg has been recognized as one of the most innovative and independent artists of the contemporary period; in 2010, New York Times art critic David Belcher wrote that comparisons between Rothenberg and Georgia O'Keeffe had «become hard to avoid.»

The Museum of Contemporary Art, which owns the painting, loaned it to Honor Fraser for the show, prompting L.A. Times art critic Christopher Knight to raise questions about a nonprofit museum's loan to a commercial gallery.

Catalogue features a number of large reproductions of the artist's work, plus a definitive essay on Forrester's practice by Times art critic, John Russell Taylor.

Writing about Tower's 1994 solo exhibit at the New Museum of Contemporary Art, New York Times art critic Roberta Smith compared the artist's «exuberant, slightly naive imagery» of trees and lumberjacks to the work of Jennifer Bartlett and Red Grooms (the latter of whom Tower worked for as an assistant in the 1980s and 1990s).

The «Women of Abstract Expressionism,» on view at the Palm Springs Art Museum through May, is a groundbreaking survey of the women artists working in the movement during the 20th century — and it is worth the two - hour drive east, reports Times art critic Christopher Knight.