Sentences with phrase «artist as a myth»

-- Some people have a lot less trouble with the idea of the artist as a myth and genius creator than as an entrepreneur interacting in the real world.

Not exact matches

To insist that Blake was successful as an artist and poet only to the extent that he resurrected an ancient form of myth is to deny the Christian ground of his vision and to reject the great bulk of his mature work.

At the conclusion of one of her books of philosophy, The Fire and the Sun: Why Plato Banished the Artists, Murdoch summarizes her view of the artist's role in modern life: «To present the idea of God at all, even as a myth, is a consolation.»

Many scientific administrators (and leading scientists as well, for that matter) cling to the «starving artist» myth, that is, that the best scientists are so driven to science that nothing will deter them.

By the way Tylerr M, you might want to do a little research about the bands name because it's NOT a reference to the myth you speak of, but a phrase that is used by a schizophrenic artist from their hometown who refers to things that are «not right» or people he doesn't like as black keys.

Editor and Artistic Director Mark Burstein, President Emeritus of the Lewis Carroll Society of North America, has done a great job incorporating more of what he refers to as «myth busting» facts on Carroll's work, not to mention featuring the illustrations of 47 world renowned artists including Salvador Dali, Barry Moser and Beatrix Potter.

Underlying the question about woman as artist, then, we find the myth of the Great Artist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstartist, then, we find the myth of the Great Artist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstArtist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstances.

Remarkable article as well as «The Myth about the Starving Artist and What it can Teach us about Job Security.»

If all goes as planned, this will be the year that we start taking on the starving artist myth in a highly visible way.

As in, «I help artists dispel the starving artist myth»?

Moving between a graphic sensibility, an interest in creation myths and the use of found materials and detritus, the artists reference various classical tropes of blackness as sites of origin — fantastical and performed, important yet perhaps illusory.

The epiphany of this retrospective is that it debunks the myth of Richter as two artists — the abstract painter and the photo - realist.

On view in the Grey gallery are several works from the Tanager's landmark exhibit, The Private Myth (October 1961), organized by Sidney Geist and Philip Pearlstein, which focused on the role of the artist as a mythmaker.

The winner of the last Venice Biennale's Silver Lion for best young artist — for her mesmeric video Grosse Fatigue, a rhythmically driven fugue of creation myths, anthropological artifacts, and spoken - word poetry — she recently won the first Nam June Paik award, and she's currently up for the Guggenheim's Hugo Boss Prize as well.

Whether by the writers» choice or Ms. Genzken's directive, these omissions perpetuate the myth of the artist as isolated genius unconnected to a crowded field.

Mixing pop culture with elements of Surrealism, French artist Pauline Curnier Jardin's theatrical films take history or myth as their points of departure and use improvisation, excessive characters and strange forms to create a «patchwork narration».

His work is instantly recognisable, drawing on the deep recesses of the memory and myth of Italy and years of dedicated work as an artist.

These totemic materials predominate throughout the German artist's work, with the myth as a resonating centre of meaning, both personal and historical, even if the story itself isn't really true.

This major exhibition looks at the ways in which artists have explored the intersection of rock and culture in tools, structures, myths, language, and systems of abstract thought as man has strived to understand and manage our world.

Strange Attractor Curated by Gryphon Rue March 10, 2017 — August 6, 2017 Friday March 10 Opening reception: 6 - 8:30 p at Ballroom Marfa As part of Ballroom's concurrent Marfa Myths festival, the reception featured a unique collaborative performance by artist and musician Lonnie Holley and psych duo Tonstartssbandht, with visuals by Benton C. Bainbridge.

The artists use as points of departure a wide spectrum of inspiration from personal, archival material to cultural myth and memory, both real and imagined.

Perhaps, in an attempt to remedy the Babel myth's «confusion of languages» that came to humanity as Divine punishment for its sins, Paulina Ołowska attempts an embodied written form in a selection of photos, presented grid - like in a white frame, of the artist posing as letters in «Alphabet» (2005).

When he was rumbled in the 1980s, having propagated his myth for over 30 years, nobody really minded — it simply became part of his oeuvre as an artist.

John Fare, who himself was present as a sort of phantom host, is an artist whose myth extends much further than his artistic practice.

Whether in Guston's lush yet fragile impasto, Mitchell's fleet, tactile brushwork or Frankenthaler's lyrical oil washes that sketch myths and memories as they permeate the canvas, each artist created their own unique fusion of colour and gesture.

Art of Elysium» GENESIS Benefit choreographer 2014, LAX Greystone Mansion Event Collaborator to Creative Director / Artist Liz Glynn 2014, Art of Elysium Heaven Gala site specific soloist 2015, as manifesto speaker for Marina Abramovic's opening Gala for MOCA LA, LA Art Show choreographer for Suzanne Lacy's Myths of Rape, Los Angeles Museum of Art as Choreographer for Liz Glynn's Hello Girls, Dilletante Gallery Papercranes RESIDENCY, Santa Museum of Art Choreographer for Barkley Hendricks Opening, Center Theater Group as dance captainn for Phil Soltanoff workshop, LAX Arts 2012 Blackbox presenter, Hammer Museum, Show Box LA residency recipient and Director and curator for site specific event The Series at the Standard DTLA, and LACE.

As today's art scene expands, so does the pressure on artists to become legends in their own time — and for their art to believe in its own myths.

The anachronism implies a continuity between the myths of hard - drinking artists from different eras: as if the beer - swilling painters of the Dutch Golden Age, the absinthe - addled wretches of 19th - century Paris, the tough guys of the New York School, liquored - up and rowdy at the Cedar Tavern, and several generations of British artists, stumbling out drunk in the late afternoon from Soho's Colony Room Club, could all be imagined in some timeless bar - room.

It's part of the Lowry myth — the myth of many famous artists, in fact, whether or not it actually happens to be true — that he's never been taken seriously as an artist by critics or by cognoscenti.

On October 13, 2017, Art League Houston (ALH) hosted its Annual Gala: Myth & Symbol at Hotel ZaZa honoring Trenton Doyle Hancock as the 2017 Texas Artist of the Year and Lynn Goode as the 2017 Texas Patron of the Year.

Often associated throughout art history with the Jackson Pollock myth of the individual male painter expressing his physical prowess on the canvas, Abstract Expressionism has been recently reassessed by casting a new light on female artists who played an important role in the movement such as Lee Krasner or Grace Hartigan.

«The End Has Different Stories» provokes viewers» imaginations by what the artist describes as «constructing a myth in order to make history tangible.»

We ask our viewers to examine the clichés and nostalgic visions of the «Old» West as myth, and consider these contemporary artists» views of the West as telling a layered story of our complex relationship with the tenet of Manifest Destiny.

The artists in this invitational group exhibition examine the genres of traditional maritime and marine art using ship portraiture, seascapes, novels, folklore and ancient myths about the sea as inspiration.

As an artist in a city that is by hyperreal and to some degree post-historical, L.A has become a place of myth, where the entertainment and media industry can willingly shape and construct the city's own reality.

Curator Maurice Berger, author of White Lies: Race and the Myths of Whiteness, provides an introductory text on whiteness and art as well as individual artist essays.

In her video, the 34 - year - old Parisian artist presents footage of these artifacts — and of herself rummaging through the archives — in windows that pop up on the screen (as on a computer desktop) while a voiceover raps out a crazy quilt of creation myths over a drumbeat.

One such myth, Saint George doing battle with the Dragon, has been repainted by generations of artists for centuries, including masters such as Raphael.

Early US artists painted the west as a fantasy land of wagon trains and cowboys, creating the visual myths that later fed the imaginations of film - makers.

Writers have suggested how deeply artists such as were embedded in American myths.

Her work, which she describes as «panoramic sound quilting,» continues the artist's exploration of what it means to be a U.S. citizen and examines the human experience through constructs of memory, myth, make - believe and value.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

Greenwald writes that «the myth of Morandi is that the artist kept a low profile as Fascism raged around him.

for me, i am done with that myth... i think we have to take responsibility for our own success in our careers... sitting around waiting to be discovered will insure our status as struggling, starving artists... we need to embrace success as part of the full expression of our work... success is what allows us to devote all of our time to our art.

The idea of the artist as a genius mythical figure and marketing oneself through that sort of myth creation is a little tired, though.

Their shows — featuring content they refer to as «ephemera» that is promptly destroyed afterward — question our fetishization of the art object and the myth of the artist as «autonomous, self - defining, and morally superior,» not to mention the concepts of originality, ownership, value, and influence.

As a practicing visual artist, Barry Ace's work has been included in numerous group and solo exhibitions, including: Emergence from the Shadows — First Peoples Photographic Perspectives, Canadian Museum of Civilization (1996: Ottawa); Urban Myths: Aboriginal Artists in the City.

KB: So, as an artist using myths as a departure point, when do you depart?

Adrian Searle discusses The King at Hauser & Wirth's Piccadilly gallery, an installation that debunks the myth of the male artist as hero

It features some of Beuys's seminal pieces, including the felt suit and fat - laden sled that referred to his creation myth as an artist (being rescued by Tartars when his plane was shot down during the Second World War).