Sentences with phrase «artist felt at the time»

We love to discuss the mood of the art and how the artist felt at the time.

Not exact matches

While there's no doubt that artists should push into new territory, many listeners may wonder why their favorite indie rock band seems to be leading them through this particular soundscape, which at times feels like the backing music to the 1971 action movie Shaft.

But you persist because there is a small band of artists who feel the same way you do and subversively continue to work within the system while at the same time sabotaging it because they feel that photography should be liberated from the Association's categories.

Will and the Mecca artists did a great job, I am at times a little apprehensive when handing over my face to be made up in case I leave feeling over done, but they completely understood my desire for a glowing, fresh face that is still natural.

At that time I felt like there weren't a lot of makeup options for darker skin tones available, and the makeup artists at the department store counters seemed to think that loading up the darkest shades of shadow, blush, and lipstick was the only way to go --(this is before YouTube changed the world of makeup for women of color)-- that's when I decided to take matters in to my own hands and I became sort of obsessed with playing with makeuAt that time I felt like there weren't a lot of makeup options for darker skin tones available, and the makeup artists at the department store counters seemed to think that loading up the darkest shades of shadow, blush, and lipstick was the only way to go --(this is before YouTube changed the world of makeup for women of color)-- that's when I decided to take matters in to my own hands and I became sort of obsessed with playing with makeuat the department store counters seemed to think that loading up the darkest shades of shadow, blush, and lipstick was the only way to go --(this is before YouTube changed the world of makeup for women of color)-- that's when I decided to take matters in to my own hands and I became sort of obsessed with playing with makeup.

It is somewhat pathetic that this highly successful artist, unsparing of herself in the painstaking study of animal anatomy, diligently pursuing her bovine or equine subjects in the most unpleasant surroundings, industriously producing popular canvases throughout the course of a lengthy career, firm, assured and incontrovertably masculine in her style, winner of a first medal in the Paris Salon, Officer of the Legion of Honor, Commander of the Order of Isabella the Catholic and the Order of Leopold of Belgium, friend of Queen Victoria — that this world - renowned artist should feel compelled late in life to justify and qualify her perfectly reasonable assumption of masculine ways, for any reason whatsoever, and to feel compelled to attack her less modest trouser - wearing sisters at the same time, in order to satisfy the demands of her own conscience.

Yet at the same time Rosa Bonheur is forced to admit: «My trousers have been my great protectors... Many times I have congratulated myself for having dared to break with traditions which would have forced me to abstain from certain kinds of work, due to the obligation to drag my skirts everywhere...» Yet the famous artist again feels obliged to qualify her honest admission with an ill - assumed «femininity»: «Despite my metamorphoses of costume, there is not a daughter of Eve who appreciates the niceties more than I do; my brusque and even slightly unsociable nature has never prevented my heart from remaining completely feminine.»

It is somewhat pathetic that this highly successful artist, unsparing of herself in the painstaking study of animal anatomy, diligently pursuing her bovine or equine subjects in the most unpleasant surroundings, industriously producing popular canvases throughout the course of a lengthy career, firm, assured and incontrovertibly masculine in her style, winner of a first medal in the Paris Salon, Officer of the Legion of Honor, Commander of the Order of Isabella the Catholic and the Order of Leopold of Belgium, friend of Queen Victoria — that this world - renowned artist should feel compelled late in life to justify and qualify her perfectly reasonable assumption of masculine ways, for any reason whatsoever, and to feel compelled to attack her less modest trouser - wearing sisters at the same time, in order to satisfy the demands of her own conscience.

I look at artist books in my studio all the time, but in the recent work, I like it to have more of a feeling of this landscape being a real location, but only in dreams.

Presented this month at Matthew Marks, the artist's last body of work does not disappoint, and the series of pieces, culled from past sketches and concepts or completely new ideas, feels like a fitting look at the furthest points of the artist's exploration before he laid down his brush for the last time.

Guston briefly provides biographical information and spends the remainder of his time speaking of his experiences working on the Mural Project (PWAP) in Los Angeles; his move to New York working under Reginald Marsh as a non-relief artist; his multiple mural projects in New York (Penn Station Subway, Queensbridge Housing Project, WPA Mural for the World's Fair, etc.); his success in WPA Fine Arts competitions; his move to Woodstock, New York; his time spent teaching at the University of Iowa; his many influences (Renaissance, Modern and Abstract Painters); his personal / professional feelings about the WPA as well as his political feelings about it.

At the time, members of The Archive Project felt that for artists living with HIV two deaths were on the horizon; the second was the physical death; the first was someone's artistic practice and career.

But Sultan left Mary Boone's stable for uptown dealers he felt had better artists at the time, and was left out of much of the «Painters School» publicity and sales excitement Boone soon created.

Viridian Artists has responded to this need with ArtMeat, a bi-monthly gathering on Wednesday for those who want to talk with other artists and art lovers about their process, their inspirations, the value of showing on the web, what kind of art to buy and whatever else feels pressing at that moment iArtists has responded to this need with ArtMeat, a bi-monthly gathering on Wednesday for those who want to talk with other artists and art lovers about their process, their inspirations, the value of showing on the web, what kind of art to buy and whatever else feels pressing at that moment iartists and art lovers about their process, their inspirations, the value of showing on the web, what kind of art to buy and whatever else feels pressing at that moment in time.

At the height of the controversy, which raised Ofili's international profile, the artist told the New York Times: «I don't feel as though I have to defend it.

So, Arch Gilles, who was the president of the Andy Warhol Foundation at the time, felt like they should take some responsibility given that they wouldn't exist if it weren't for the largess of an individual artist.

Sadly, due to our longevity and time passing, some of our artists have died and so we feel it appropriate to offer the families and spouses of these Viridian Artists the opportunity to continue to exhibit their art with us as well as maintain a portfolio on our website at a reduceartists have died and so we feel it appropriate to offer the families and spouses of these Viridian Artists the opportunity to continue to exhibit their art with us as well as maintain a portfolio on our website at a reduceArtists the opportunity to continue to exhibit their art with us as well as maintain a portfolio on our website at a reduced cost.

At the time, he was better known as a critic than as an artist, and he felt somewhat insecure about his works: some time after the Panoras show, he referred to it as a «stupid» exhibition.

But at that stage in my life, I still felt that I needed a space of my own for the artists I was working with, and I also starting to work with a whole new group of artists at that time.

Céline Condorelli is an artist who works with architecture, combining a number of approaches from developing structures for «supporting» (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites, resulting in projects merging installation, exhibition, politics, fiction, display, public space, sound, writing, and whatever else feels urgent at the time.

An artist I felt most clearly drawn to at that time and have been ever since was Claude Lorraine, his very personal interpretation of landscape which no matter whether it had trees and distance used the most perfect means of light, tonality and distance to embrace his vision.

The psychological pain of living in a world that is not constructed for one's body can, at times, feel insurmountable, but, together, these artists offer a space to unlearn preset values that create and inform «otherness.»

At the time, Namuth's portraits of Pollock helped to establish a new image of the male artist as a genius, one who is both feeling and staunchly masculine.

While Conner's drawings can easily reach $ 50,000 his» # 100» prints series, published by the artist in 1971 and «relating to the felt - tip drawings he was making at the time,» are «very accessibly priced.»

«The pop art thing... I felt like the artists who were associated with that were artists that were frustrated by the tone of art being created at that time, which was Abstract Expressionism,» Ed Ruscha told Observer.

They abandoned the polished classical style that was fashionable at the time and practised by artists such as Aleksandr Laktianov and presented a subject matter that they felt better reflected the grim austerity of post war Russia.

LINDA NOCHLIN: Were there any artists that were painting at the time that you felt were going in your direction, or that interested you, or that were relevant to what you were looking for in your own?

«But, almost twenty years later, the older artist additionally explained, ``... it was partly a title perversely ironic... Only later did I learn that in «English» «homely» means «homebody,» which also happens to be true of me... But at the time I named it I was referring to the American idiomatic use of being «not beautiful,» not attractive... which I felt more about the picture than myself.»

Martin Puryear's retrospective at the Museum of Modern Art in 2007 — that, to me, felt like the first time I'd seen a major retrospective of a black artist in person.

Of course, there are a few artists that have been with the gallery who have been loosely School of New York, but did you feel at the time that you opened the gallery that there was a reaction against Abstract Expressionism?

Yet the retrospective that opened Sunday at the Museum of Contemporary Art feels remarkably fresh, as if a visitor is discovering an important artist for the very first time.

Thanks to him this kind of poetry has been able to survive in our time» — M. ROTHKO «One feels looking at an Avery landscape or seascape that the highest human experience is being alone and at peace with the land and the sea» — B. HASKELL «One feels looking at an Avery landscape or seascape that the highest human experience is being alone and at peace with the land and the sea» — B. HASKELL Executed just two years before the artist's death in 1965, Dark Inlet is a poignant and beautiful swansong.

Way ahead of its time, Schwitters» creativity was a huge influence 40 years later on the great contemporary artist Robert Rauschenberg, who said, after viewing an exhibition of Schwitters» work at the Sidney Janis Gallery in 1959: «I felt like he made it all just for me.»

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Including abstinence from solid food, alcohol and cigarettes, in addition to the change in his sleeping patterns, these bring to critical light the temporal, immaterial, and physiological labor of artists at a time when commodification of art production is keenly felt in Hong Kong.

I think it would be political correctness gone mad if museums were forced to purchase art because the artist is female, a particular skin color, or any other categorization of person that has ever felt neglected at some point in time.

Her 10 works on view at the Museum of Contemporary Art of Georgia as part of the 2012/2013 Working Artist Project fellowship feel very much like visual puzzle pieces one needs time and patience to assemble into a whole.

With lumpy, flesh - colored ceramics that allude to the bodies that once sat on the upholstered cushions and a title connecting the temporal nature of news with the optimistic pride many Americans felt at the time, the artist captures how global events pervade and shape our daily realities.

Moderated by Sharon Louden, Artist and Editor Panelists include: Sean Mellyn and Jennifer Dalton, Artists and Contributors to «Living and Sustaining a Creative Life» Christian Viveros - Faune, Writer, Curator and Art Critic for the Village Voice Paddy Johnson, is the founding Editor of Art F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice overArtist and Editor Panelists include: Sean Mellyn and Jennifer Dalton, Artists and Contributors to «Living and Sustaining a Creative Life» Christian Viveros - Faune, Writer, Curator and Art Critic for the Village Voice Paddy Johnson, is the founding Editor of Art F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice overartist sustains a creative practice over time.

Another was that she felt this was a good time to take a look at her progression as an artist.

That makes me feel fragile and vulnerable many times... But, at the end, I have always in my heart and in my mind, that I am an artist and that means first of all, that, I do am exposed.

Crowds were drawn to David Nolan Gallery's roped - off Barry Le Va installation, a work the artist originally conceived in 1967, and recreated on site at the fair; New York Times fashion photographer Bill Cunningham was spotted snapping the piles of grey felt and rogue aluminum balls that the artist had carefully strewn across the floor.

Leidy Churchman: «The Meal of the Lion» Murray Guy 453 W. 17th St., through June 6 On a handful of occasions over 20 years of teaching, I've walked into a student's studio and had to catch my breath at the kind of raw, sheer talent I felt, at the same time thinking that since there's almost nothing I could say to this artist to improve his or her game, I fell almost instantly into listening as carefully as I could, learning things I never knew I needed to know until I was told them.

But at times, you feel that the exhibition is simply bouncing from one myth (that of the self - taught artist working in isolation) to another (of the South as a magical, fertile dreamscape).

It is something that as an artist you always feel at some time.

Published in 23 intermittent black - and - white issues from 1979 - 1994, Real Life was devoted to providing an outlet for a circle of artists who did not feel properly represented in the mainstream art world at the time — many of whom are now grouped with the Pictures and Post-Pictures artists.

Crewe's use of the Victorian novel — which acts as both the linchpin to the exhibition and a starting point for considering current trans narratives — is one that feels tender and personal while at the same time, acknowledging the limits and precarious position of an artist's reorganisation of a now historical text.

Rather than be tied to this trajectory — the bias of which Head of Programme Emma Ridgway, her predecessor Sally Shaw, Director Paul Hobson and Curator Ciara Moloney have done much to address in recent years — the team has taken a more creative approach to the past, questioning why certain artists were not shown at particular times and inserting them where they feel it necessary.

These were spaces that really listened to artists and demanded a close viewing experience.Things felt very stagnant at the time.

The gallery was a deeply personal exploration of many things that felt very tumultuous to us at the time, allowing us and members of our extended peer group to have a platform to think out loud and in public through some serious questions — of authorship, queer identity, the rapid professionalization of the young artist, mentorship, memory, grief, loss.