Sentences with phrase «artist early recognition»

Not exact matches

Having held the first major museum survey of the artist earlier this year as part of its «Recognition of Art by Women» series, it was at the head of a queue of more than a dozen public institutions waiting to buy Ms Crosby's painstakingly crafted works.

A central connective figure in Abstract Expressionism Carone has gained increasing recognition as an uncompromising and creative artist during a seven - decade career, culminating in a creative burst in his late eighties and early nineties.

Despite the early acknowledgment of Ms. Frankenthaler's achievement by Mr. Greenberg and by her fellow artists, wider recognition took some time.

«I know our esteemed panel of advisors will select an inaugural recipient who is deserving of increased recognition and for whom the award, exhibition, and publication will be transformative — whether they be an early -, mid -, or late - career artist.»

For Polke, who approved the early conception of the show before his death in 2010 at the age of 69, the museum is making comparable space for an artist with less widespread recognition but a healthy reputation in the art world.

No major European postwar artist has had as much influence, and yet as little public recognition, as the Belgian trickster who turned from poetry to fine art in the early 1960s.

It aims to give global recognition to artists in the early stages of their career.

There was also increased recognition for significant artists whose importance might have been overshadowed previously, such as 84 - year - old Sam Gilliam, whose abstract «color field» painting at New York's Mnuchin gallery sported a red dot sticker — meaning it was sold — early on.

By the early 1960s, Thompson achieved great recognition and success which was unparalleled for most young artists and certainly for African - American artists of the era.

In 1963, at the height of his internationally acclaimed career, the artist donated nearly fifty paintings to UC Berkeley in recognition of the University's important role in his early career.

By the early 1960s, he had achieved great recognition which was unparalleled for most young artists and unprecedented for African - American artists of his generation.

First earning international critical recognition in the early nineties, Doig reshaped the discourse of painting at a time when many artists and critical thinkers preoccupied themselves with rumors of its death.

Working independently and with only the support of a few fellow artists like David Smith who embraced her raw language and attraction to discarded materials, she received recognition early - a Pratt Ida C. Haskell Award for Foreign Travel (1962) and a John Simon Guggenheim Foundation Fellowship (1965 - 66).

Inspired by a period working at the Time / Life publishing company where he bore witness to the powerful impact of mass media images in shaping consumer wishes, Prince had first gained recognition in the early 1970s as an artist for his alteration of advertisements from the media, representing them in new, slightly changed compositions.

Since the early 1990s, German artist Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today.

And, surprisingly enough, many of these artists were connected to the Abstract Expressionist movement (the most sought - after segment in the art market) to one extent or another: a Washington D.C. - based artist Sam Gilliam was brought by David Kordansky Gallery to Frieze Art Fair in New York this year, an active member of the famous New York School Edward Dugmore was exhibited at Loretta Howard gallery just recently, and now it is Raymond Spillenger, an Abstract Expressionist who is gaining attention with an upcoming retrospective scheduled for early 2016 at the Black Mountain College near Asheville, N.C. Spillenger, who died in November at the age of 89, abruptly left the art scene in the late 6os, and while his fellow AbEx artists were going through mounting recognition and success at the Stable Annual, Spillenger plunged into family life and didn't show his art even to the family members.

Wolfgang Tillmans Tate Modern London 15 February — 11 June 2017 Since the early 1990s, Wolfgang Tillmans has earned recognition as one of the most exciting and innovative artists working today.

And yet, Ms. Mackler, famous now in her early 80s, doesn't identify as an outsider artist; her aesthetic shows the blurring of boundaries, which often seems merely a matter of institutional recognition.

The ninety - four paintings on view provide a broad selection of the artist's work, including the pulp - novel romance paintings which garnered Robinson critical recognition in the early 1980s, still lifes featuring over-the-counter pharmaceuticals, recent representations of Lands» End clothing models and online erotic selfies, and many others.

The inaugural exhibition in the new space will serve as a proud recognition of local artists who created significant works in conjunction with WPA early in their careers and who have since built esteemed reputations.

In February 2012, Art Forum featured a 1973 painting by Whitten on its cover, prompting art critics and curators to ask why Whitten's work had not received more recognition earlier in his career, especially given that his scraped and squeegeed painterly abstractions of the 1970s predated by a decade similar works by the widely acclaimed German artist Gerhard Richter.

While Rhoades» groundbreaking works found early recognition in Europe and New York, the artist spent the entirety of his career in Los Angeles, where he lived and worked until his untimely death in 2006 at the age of 41.

The space served as a crucial site for video, performance, and other art forms, and supported the early work of many artists who have gone on to wider recognition, including ASCO, Mike Kelley, Suzanne Lacy, Paul McCarthy, Rachel Rosenthal, Bruce and Norman Yonemoto, and Rafa Esparza, among others.

Created during the years of the artist's initial rise to fame in the early 2000s, But You Better Not Get Old is an exceptional example of Bradford's innovative and intuitive process, which results in textured abstractions that serve to both obscure and obviate the artist's personal history and his recognition and perception of the histories of his surrounds.

2016 MacArthur Fellow Kellie Jones says, «A lot of women artists don't get any recognition... their early years are really their 50s or 60s.»

Included in Amalia Pica's accompanying publication (itself yellow in recognition of this early work), Hora Catedra is a precursor to the artist's later, darker explorations of the role of government in controlling and manipulating the minds of its citizens.

Brown was a San Francisco native, taught by Bay Area Figurationists Bischoff, Oliverira, and Lobdel at the California School of Fine Arts (now SFAI); exhibited at legendary Beat venues (6 Gallery, Batman); lived next to Jay DeFeo and Wally Hedrick during the painting of DeFeo's The Rose; married noted Bay Area sculptor and fellow student Manuel Neri; counted such disparate artists as Wallace Berman and Bernice Bing as friends; and gained early recognition (a New York exhibition at age 22) resulting in a lifelong teaching post at Berkeley, a Guggenheim fellowship, over sixty solo shows, and inclusion in an equal number of posthumous group exhibitions.

The explosion of «graffiti art» in the early «70s provided a vehicle of recognition for a large group of urban artists who otherwise would have been excluded from the rarified New York art world.

Like other Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship with the viewers.

Opening early in 1969, this solo exhibition was the fifth in the museum's history to present the work of a woman artist; at 29, Graves was the youngest of the five artists to have received this recognition.

Bill's earliest recognition was in 1925, when his work was shown at the Exposition Internationale des Arts Decoratifs in Paris, alongside those of artists like Le Corbusier and Melnikow.

Now, as this historical thread comes of age and recognizes itself in the mirror of history and on the faces of its youth, as the pioneers of the culture are canonized and the younger artists are united, there are many more opportunities afforded them within the design market, auction houses and fine art world, as these communities continue grow in their recognition of the cultural value and influence of Graffiti and Street Art, as the most prevalent styles and art movements in the late twentieth and early twenty - first centuries.

The film explores the full span of Kusama's career, from her early life in Japan to the fifteen years the artist spent in New York, starting in 1958, to her return to her native country and the later international recognition of her work.