Sentences with phrase «works of other artists often»

Works of other artists often play a role within the artistic practice of Willem de Rooij's work.

Not exact matches

The contradictory relationship between Kitano the celebrity and Kitano the serious artist makes him oddly reminiscent of both Jerry Lewis and Clint Eastwood, other iconic actors whose directorial work often questions what their iconography represents.

The success itself is questionable because of the means through which it often occurs: a dealer will buy a large number of works by a rising artist for himself (once again, male dealers seem particularly partial to this approach), and encourage others to do the same.

One of the main reasons for applying the artists» resale royalties law, which no other state besides California has chosen to enact, is that artists often sell their work very cheaply at the outset of their careers.

Her work is often an appropriation and repetition of works by other artists, like Andy Warhol, Joseph Beuys, Frank Stella, and Marcel Duchamp.

Although Ingres's Neoclassicism has often been framed in opposition to the Romanticism of Eugène Delacroix, Théodore Géricault, and others from his time, his worked influenced many future artists, including Matisse and Picasso.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Often features artworks by contemporaries and other artists as part of her installations, and works in a variety of media.

Printmaking was an integral part of Finlay's career as a philosopher, sculptor and poet, and his lifelong creative relationship with language, politics, philosophy and mythology is highlighted in his printed works, which were often made in collaboration with other artists.

Efforts to collapse the barrier between art and life during the past half century are often associated with the material innovations of artists such as Robert Rauschenberg — with his rejection of notions of mastery and craftsmanship and insistence on bringing everyday materials into his work, like his bed, the morning newspaper, or an old tire — and the enactment of ordinary daily rituals like eating and drinking in the «happenings» of Allan Kaprow and others.

Founded in 1946 by a group of artists including Roland Penrose, Peter Watson, and Herbert Read, the ICA continues to support living artists in showing and exploring their work, often as it emerges and before others.

Some may turn to the past while others may express their expectations of the future, and though the viewer may see something beautiful, moving, or original in the artist's work, there is a often a hidden weight of what motivated the maker to produce the piece.

Her work engages connected themes of change and community, and in the early» 00s, this often took the form of dinner parties (organized with her sister and performance artist Marianne Vitale), dance marathons, and social invasions, among other carnivalesque happenings.

Music has been a source of inspiration to the artist throughout his career, and he often gives his works evocative titles that allude to 1990s hip hop or other musical sources.

Saatchi became the preeminent patron of the YBAs - which also came to include Tracey Emin, the Chapman Brothers, Chris Ofili, and others — and bought up entire shows of their work (which he was known to occasionally «flip» for a profit), often from the dealer Jay Jopling, whose White Cube gallery became closely tied to the artists.

Other exhibition formats, old and new, have taken their cue from artists» changing modes of creating and presenting work, often intentionally pushing at the limits of what a traditional museum can support.

Devised by Roland Wetzel, Director of Museum Tinguely, the show presents large spatial installations that often include sound, light, video and film as well as randomly found objects and works by other artists.

While his practice has sometimes alluded to the work of other artists, it more often replays / repeats general types and formats of photo - based painting as if appearing to be in conversation with those formats but which, in reality, is more accurately about the construction of appearances.

Her works themselves are often either mechanically produced or feature the work of other artists.

This screening series, which forms part of a larger research process, focuses on artists who engage with the infrastructural through the moving image, while also often working with other media.

An artist who was also one of the three curators of the past Whitney Biennial, where she packed her floor of the museum with extraordinary women painters, Michelle Grabner creates worked - over canvases that use obsessively rendered geometric patterns — often lifted from home textiles and other distaff sources — to enormously powerful effect.

Acclaimed as an antecedent to Pop, the bold work of Raysse is often exhibited alongside that of such American and British artists as Roy Lichtenstein, Andy Warhol, and Richard Hamilton, among others.

In their selection of Kehinde Wiley, for Mr. Obama's likeness, and Amy Sherald, for Mrs. Obama's, announced Friday, the Obamas continue to highlight the work of contemporary and modern African - American artists, as they so often did with the artworks they chose to live with in the White House, by Glenn Ligon, Alma Thomas and William H. Johnson, among others.

The selection of artists is undertaken by the programme team, led by the Artistic Director.The Tetley often works in partnership with other organisations in Britain and abroad, with current collaborations with Karachi Biennale, Pakistan, Colombo Art Biennale, Sri Lanka and Liverpool Biennial through the New North and South partnership.As exhibitions arise from direct invitations and through partnerships, we do not accept unsolicited proposals for exhibitions and do not hire out spaces for exhibitions.

Work created by Claire Fontaine often intentionally recalls that of other artists, exploring common contemporary tropes with the goal of «interrogat [ing] the political impotence and the crisis of singularity that seem to define contemporary art today,» according to an artist statement.

When he unveiled his often lukewarm collaborative pieces with Warhol in 1985, the New York Times savaged him as an «art - world mascot» and an «all too willing accessory,» as if he were merely an instrument in the hands of the older, white, artist (in actuality, as Boom for Real shows, the pair shared a genuine artistic affinity, and were mutually beguiled by each other's work).

The works, which were produced by nearly 150 artists, include an 1826 print by JosephNicéphore Niépce, who is often credited as the inventor of photography and a pioneer of the field, as well as works by Dorothea Lange, W. Eugene Smith, Robert Frank, Diane Arbus, Cindy Sherman, Ellsworth Kelly, Carrie Mae Weems, and Thomas Struth, among many others.

The gallery often collaborates with independent curators and other art institutions in order to produce important exhibitions dedicated to the photographic work of both emerging and established artists, like Sebastiao Salgado and Marina Font.

Artists from minority backgrounds were (and still are) often included only when making work about their minoritarian identities, reinforcing their status as «Other» while simultaneously allowing institutions to wear the mantle of «diversity».

At a moment when much sculpture consists of either accumulations of found or «store bought» objects or three - dimensional reprisals of other artists» work, Clark's often kinetic sculptures dispel the conformist notion that there is nothing left to do in the artistic arena but to criticize consumerism.

As a direct result of the artist's desire to create objects that were standing on their own (and as part of the expanded field of image making, emphasizing nothing other than their physical presence), Judd's work is often called literalist.

Most of his early works are very large portraits based on photographs, using Photorealism or Hyperrealism, of family and friends, often other artists.

The three artists offered works in distinctly different media — a photograph, a painting, and a drawing; yet, through an intense, often daily conversation involving discussion and examination of each other's work, they influenced each other in varying ways.

His early work often involved collaborations with other artists, both in the production of the work itself and in the structure of exhibitions.

His experiments with the latter commenced in 1968 and were considered radical, in part because this new form of drawing was purposely temporal and often executed not just by LeWitt but also by other artists and students whom he invited to assist him in the installation of his works.

Dzama collaborates often with other artists, and his work is collected by many of the gods of Hollywood and modern independent cinema.

Young artists of Mexican American heritage are gaining visibility for work that often touches on their ethnic identity — along with other themes, from the conceptual to the formal.

Peckham - based artist, graffiti writer and contemporary artist Remi Rough stands apart from other street art - leaning practitioners in that his work is often referred to as «visual symphonies», thanks to his keen eye for the geometrical treatment of form, colour, line and space, and inspired by avant - garde movements such as Suprematism and Italian Futurism.

As the exhibition demonstrates, the selected group of ceramic artists are often in direct dialogue with their contemporaries working in other, more recognized media.

If we compare her with other women artists from the 1960s working in a reductive vein (Jo Baer, for example), Mikus seems to have thoroughly vanished, more so than her peers, and often isn't included in surveys or textbooks of that period.

A painter, sculptor, and printmaker, Sultan is regarded for his ongoing large - scale painted still lifes featuring structural renderings of fruit, flowers, and other everyday objects, often abstracted and set against a rich, black background; but he is also noted for his significant industrial landscape series that began in the early 1980s entitled the Disaster Paintings, on which the artist worked for nearly a decade.

With more than 50 works made by Joan Mitchell, Helen Frankenthaler and others in the 1940s and»50s, this exhibition celebrates the often overlooked female artists of this pivotal American movement.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

Art appropriation itself can be somewhat controversial; it's the hip - hop of the art world, often sampling bits and pieces of other artists» work in newly imagined scenarios.

And it wasn't simply Italian or Roman art that these artists incorporated into their works — Merz was often a fan of appropriating igloos or other nomadic objects into his sculptures.

Other artists, like those of the past, work alone for long periods, on art which often is not seen beyond their studio walls.

As Smith finds himself often sitting in front of his computer looking, watching, listening — and posting images of his own work along with the work of other artists he admires — he finds that in short bits of time he can view art from all over the globe.

I have to say, it's the aspect of other artists» work that I often enjoy the most.

Hershman Leeson's career has encompassed performance, photography, film and painting — work that has often prefigured the projects of other artists.

During the height of his career in the mid «80s, West chose to break the conventions of a traditional «solo show» by offering other — often unknown — artists to exhibit their work alongside his — much to the surprise of the institutions that invited him.