Sentences with phrase «york times art»

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.»

Canaday, the New York Times art reviewer, was one of the few influential critics of abstract expressionism.

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

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.

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.

The building had been abandoned for 12 years prior to the artist's acquisition, and he remodeled the interior to create what New York Times art scribe Carol Vogel described as the centerpiece of a «private, rural theme park.»

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.»

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.)

Each year, the New York Times art critical team takes on the Herculean task of assembling an end - of - year round up of the most noteworthy aesthetic experiences of the year.

Speaking at the New York Times Art Leaders Network in Berlin, Mr. Zwirner got verbal support for his proposal from other conference participants, including Marc Glimcher, president of the Pace Gallery, and Elizabeth Dee, founder and chief executive of the Independent Art Fair in New York and Brussels.

David Zwirner, art dealer and owner of David Zwirner Gallery, suggests how larger, established galleries could try supporting younger galleries at The New York Times Art Leaders Network conference in Berlin.

Without consideration, however, we get New York Times art critics making comments about «the nature of the art that women tend to make» and lists of the greatest living artists that are all white.

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.

At The New York Times Art Leaders Network, artist Olafur Eliasson talks about how museums can help empower visitors.

Lisa Dennison, Sotheby's Americas Chairman, talks about the taste for Western art in Asian markets and the possible comeback of Chinese contemporary art at The New York Times Art Leaders Network conference in Berlin.

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.

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.»

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

«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.

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

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.»

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 larger of the two «painterly» works is Number 38S, an eight - foot - square field of wooden sticks, detritus from some explosion or collapse, scattered over 16 dirt - colored (or covered) wooden panels that combine into what The New York Times art critic Roberta Smith called «an endless catastrophe seen from above.»

Watch David Zwirner speak about how established galleries can throw a lifesaver to smaller, struggling galleries at the The New York Times Art Leaders Network conference in Berlin.

New York Times art critic Roberta Smith once described Dieter as a «performance artist in all the mediums he touched.»

For many, including Roberta Smith, the well - known New York Times art critic, the piece «bore no trace of Mr. Sachs's hand» and «could have been the work of several other artists.

New York Times Art Critic, Roberta Smith called it «pious, [and] often arid.

The New York Times art critic Holland Cotter 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.»

But as late as 1981, when Arneson was shown with five other like - minded California ceramic sculptors in the Whitney Museum exhibition, Ceramic Sculpture: Six Artists, there was a backlash, with New York Times art critic Hilton Kramer singling out Arneson as dominated, «by a gruesome combination of bluster, facetiousness and exhibitionism — plac [ing] a fatal limit on what his gifts allow him to accomplish, or even to conceive.

Be sure to check out former New York Times art critic Ken Johnson and New Yorker cartoon editor Bob Mankoff discuss humor and visual art on January 18th.

«To him abstraction was not a genre or style,» New York Times art critic Holland Cotter writes of him: «it was an ethos.»

Sterling Ruby, named «one of the most interesting artists to emerge in the twentieth century» by New York Times art critic Roberta Smith in her review of the his two coinciding New York exhibitions in 2008, has been under the spotlight in the last decade or so.

In 1996, New York Times art critic Holland Cotter reviewed an exhibition at the Bronx Museum of the Arts entitled Bronx Spaces.

[19] The choice of Thomas for the White House collection was described as an ideal symbol for the Obama administration by New York Times art critic Holland Cotter.

In this first episode, you can watch people like New York Times art writer Jori Finkel, photographer Catherine Opie, and founder of ForYourArt Bettina Korek try to navigate Ellison's character's questions, which are genuine, blunt, and uninformed.

Reviewing this series in 2008, the New York Times art critic Roberta Smith described his process.

New York Times art critic Roberta Smith describes his large reliefs as «pocked, splintered, seemingly burned here, bristling there, unexpectedly delicate elsewhere.

In 1970, writing a group exhibition review that focused almost exclusively on three drawings by Grossman, New York Times art critic John Canaday praised her ability to combine «precise linear representational technique with intense expressive force, a combination that has been rare since the Renaissance.»