Sentences with phrase «while works by living artists»

While works by living artists have always been collected by the MFA — Winslow Homer, Claude Monet, and John Singer Sargent were contemporary artists when some of their paintings were acquired — the Department of Contemporary Art was only established formally in the Museum's centennial year, 1971.

Not exact matches

But Arteaga says the exhibition will also introductory works from the nineteenth - century that make clear that Mexican artists» interest in muralism and indigenous culture predated the revolution — in fact, mural - making did not resume until about a decade after the upheaval — while turn - of - the - century works by Mexican artists living in Paris foreshadow the cross-cultural pollination that happened between artists in Mexico, Europe, and the U.S. over the next several decades.

5 pm - Live drawing event with local artists working side - by - side to make unique works of art while you watch

Curated by Nada Alaradi, the exhibit provides posthumous biographical information with an emphasis on Webster's life as an artist while highlighting works from various periods in his artistic career.

While Frieze is known for its devotion to presenting art by living artists, the fair has expanded to include works by artists who are not.

By some fortuitous coincidence just a few steps separate «Joan Mitchell: The Last Paintings» at Cheim & Read from «Matta: A Centennial Celebration» at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as «old age style» — used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier yearBy some fortuitous coincidence just a few steps separate «Joan Mitchell: The Last Paintings» at Cheim & Read from «Matta: A Centennial Celebration» at Pace Gallery and each show explosively refutes any notion of youthfulness being the province of the young while giving new life to the phenomenon known as «old age style» — used to distinguish formal characteristic of late works by Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier yearby Titian, Rembrandt, or Cézanne, where the artist just wants to get to the heart of the matter and sloughs off all the fine finish he had needed to impress his audience in earlier years.

The Lives of Others is two exhibitions of work by German refugee artists at Ben Uri Gallery and Museum from 29 March — 18 June 2017, while Chaim Stephenson: Between Myth and Reality at St Martin - in - the - Fields (to Wednesday 10 May) showcases work by an artist with a lifelong concern for people driven from their homes.

Artpace, is renowned for its International Artist - in - Residence program, funded in part by the Linda Pace Foundation, which invites artists from around the world to live and work at Artpace, while creating new works of art.

This rare presentation of Ruscha's 1975 short film Miracle centers on a day in the life of an auto mechanic (played by artist Jim Ganzer), who has a transformative experience while working on the engine of a Ford Mustang.

While guest curators select resident artists, Artpace assists by creating the Texas Open Call list of contemporary artists living and working in Texas.

The show pays tribute to Nan McEvoy's devoted, life - long interest in and support of California artists including Wayne Thiebaud, Richard Diebenkorn, Ed Ruscha, and David Hockney, while showcasing Nion McEvoy's interest in works by artists such as Anne Collier, Carsten Höller, Roe Ethridge, and Ragnar Kjartansson.

My Rock Stars: Volume 1, new body of work by photographer Hassan Hajjaj that pays homage to traditional African portraiture, while celebrating present - day pop stars, unsung artists and personal inspirations in Hajjaj's life.

Living and Sustaining a Creative Life features essays by artists who share the myriad ways they balance their live / work needs, in many cases maintaining a studio practice while holding down one or more day jobs.

While as curators we seek to leave a trace, it is through the horizontal loyalty of our peers, predecessors, and progeny that we can assure our advocacy, and by extension the work of artists, lives on.

London's Tate Modern focuses on Matisse's paper cut - outs, bringing together 120 works by the artist, while the Tate Britain looks at work from the last 20 years of JMW Turner's life.

Nancy Rubins creates her work out of a fractured environment, initially inspired by an earthquake in 1977 while the artist was living in California.

An essay by Julie Upmeyer focuses on her experiences with running, working with and attending artist residency programmes, while another essay portrays the stories of 6 international artists, who have lived in Istanbul within the frame of artist residencies.

There is an aura that pervades these works of everyday objects that require the viewer to look closely, to take in the complex surface qualities and ambiguous abstractions, while simultaneously recognizing the underlying «real - life» image captured by the artist's lens.

But while automobiles, for example, have vehicle identification numbers, works by living artists enter the market without dependable standards of identification.

In 1998, the Metropolitan Museum of Art in New York reportedly paid $ 20 million for his work «White Flag», while in 2006, his work «False Start» was bought by private collectors for a reputed $ 80 million, making it the most expensive painting by a living artist.

There follows a sequence of works by such contemporary artists as Jeremy Deller, Cai Guo - Qiang, Jenny Saville, Ellen Altfest, Antony Gormley and Yinka Shonibare that explore these two themes, that is artists working from casts and life while appreciating how some have embraced new technologies in their work.

Nowadays any living artist can submit two works to be chosen by the committee while the 80 Royal Academician can automatically exhibit as many as eight works of their choice.

For this event, Jarrar stamped passports in Rome in conjunction with over 200 artist interventions in locations as disperse as St. Petersburg, Mexico City, Chicago, and more.12 While Jarrar's work is fueled by his own experience in Palestine, he also speaks to the international community of Palestinians living as refugees and the plight of global migrants.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

Illustrations of key works are supplemented by comparative images by different artists, sometimes in different periods, while short texts offer a biography of each artwork, tracing its inception and impact, and offering a view not only into the imagination of the artist but into the age in which we live.

Today, Pace Gallery and Gagosian Gallery are renowned for museum - calibre exhibitions while non-for-profit museums are influenced by commercial galleries and invite living artists to make new works.

While rooted in the Duchampian question of the distinction between art and everyday life, Beech's work adds a strong sense of theatricality, which is initiated by the artist's careful alteration and presentation of each object.