Sentences with phrase «artistic life as an artist»

Not exact matches

It will also be the first to explore the complete spectrum of his astonishing artistic output, stretching across five decades from the late 1940's to his untimely death in the 1980's — and the first to put Warhol himself — his background and history, his family life and formative experiences in Pittsburgh, his crucial experiences as a commercial artist in New York, and his trajectory across three of the most transforming decades of the century — back into the presentation of his life.

A look at the last 25 years of the life of artist JMW Turner, his screenplay highlights the master as man, detailing both his prodigious artistic talent and the emotional vulnerability that defined his character.

Based on the best - selling tell - all book about the making of the cult - classic disasterpiece The Room, «The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made», by Greg Sestero and Tom Bissell, and written for the screen by Scott Neustadter & Michael H. Weber, The Disaster Artist tells the hilarious true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountableArtist: My Life Inside The Room, the Greatest Bad Movie Ever Made», by Greg Sestero and Tom Bissell, and written for the screen by Scott Neustadter & Michael H. Weber, The Disaster Artist tells the hilarious true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountableArtist tells the hilarious true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountableartist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds.

Joan Mitchell describes in her quotes her artist life and her main artistic goal to create painting as a means of «feeling / living».

As I read this article it reminded me of how we artists can be quite an emotional lot.Sometimes we have trouble being practical.I certainly have mixed emotions about this subject.On the one hand it is always great to sell a piece of art but on the other five dollars doesn't seem worth the hassle.But the point I think many may have missed is that a five dollar work of art would definately be something you only spend a small amount of time on, like a half hour or less.That's $ 10 an hour to do what you love and isn't that what we're all looking for?My husband who's a bussiness man is always making me look at it that way, in terms of an hourly wage.I know that's not very artistic thinking but it sure does make sence in this materialistic world that we live in.

Read this with great interest as a life long professional artist and I'll also share it with my two artistic creative daughters who have master's degrees.

I think as you that art doesn't need to be explained, but if the artist can complement his artistic creation with writings about his life, ideas, and any other inspiration for their work, we would be able to understand beter his creative process and connect with him as a human being.

That achievement in the arts, as in any field of endeavor, demands struggle and sacrifice, no one would deny; that this has certainly been true after the middle of the 19th century, when the traditional institutions of artistic support and patronage no longer fulfilled their customary obligations, is undeniable: one has only to think of Delacroix, Courbet, Degas, van Gogh and Toulouse - Lautrec as examples of great artists who gave up the distractions and obligations of family life, at least in part, so that they could pursue their artistic careers more singlemindedly.

Looking at the painted figures offers a tour through artistic life in the 20th century; one encounters artists such as Andy Warhol and Robert Smithson, and Metropolitan Museum conservator Henry Geldzahler.

As part of Joan Mitchell Foundation's ongoing collaboration with Voices of Contemporary Art (VoCA), please join us on Thursday, September 14, when artist Gwen Fabricant will sit down with VoCA Program Committee Member Jennifer Hickey to discuss her life, work, and artistic legacy.

Proposals are evaluated on the basis of the following criteria, which are weighed equally: How well a project aligns with the MAP Fund's goal of supporting experimentation and innovation in all traditions and disciplines of live performance, especially work that brings insight to the issue of cultural difference, be that in class, gender, generation, race, religion, sexual orientation or other aspects of diversity The artistic strength of the proposed project The viability of the project, based on the applicant's professional capabilities as demonstrated in the project narrative, bio and artist statement, and work samples.

Author Francine Prose, in the first installment of her four - part series «The Lives of the Artists,» weaves a tale of a Venetian painter whose artistic talent is as much a curse as it is a gift.

This project explores Los Angeles» legacy as a site of artistic transformation and second chances, through the poetic investigation and fictional re-construction of the Artist Actualization Services, a short - lived and obscure performance art group active in Los Angeles from 1979 - 1980.

Jay DeFeo at Mitchell - Innes & Nash May 1 — June 7 Last year's Jay Defeo retrospective at the Whitney Museum confirmed the Bay Area artist, who lived from 1929 to 1989, as one of postwar America's great, unsung artistic figures.

His artistic diversification of subject matter, from the people of the small villages and farming communities going about their daily lives to the exquisite portraitures as well as his most recent works inspired by western historical themes and American landscapes, all reflect the sensitive dedication of this Master Artist.

The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

As the premier showcase for Western contemporary art, the Ann Korologos Gallery proudly offers a wide array of Western artists working in a variety of techniques and representing diverse artistic traditions: Bold Post-Expressionist still lifes by Angus Wilson, delicate realism in the style of Chardin by Sarah Lamb, Plein Air landscapes by Dan Young, cutting - edge Macro Photography by Gayle Waterman and meticulous linocut prints by Sherrie York.

Scientific developments were rapidly changing the context of contemporary life and Yves Klein believed that as an artist the only way forward was to create a new realm for artistic exploration that reconnected people to the sublime rather than dwell in nihilistic emotion or existential angst.

About as rich and varied as her artistic output was her background: born in the small town of Madingley, Cambridge, Wakely later moved to Kenya and continued to build global relationships throughout her life, later collaborating with Brazilian artists Lucia Nogueira and Tunga.

Curated by Nada Alaradi, the exhibit provides posthumous biographical information with an emphasis on Webster's life as an artist while highlighting works from various periods in his artistic career.

Born in Italy, Maiolino moved to Brazil in 1960, living first in Rio de Janeiro where she became involved with the various artistic movements of the time - New Figuration, Neo-Concretism, and New Brazilian Objectivity - working closely alongside artists such as Lygia Clark, Antonio Dias, Hélio Oiticica, and Lygia Pape.

Sherman and Genesis use their bodies as the site of their artistic production; Sherman's characterizations eclipse her own persona as artist, and Genesis have dissolved two into one, embodying the lived experience of their artwork.

As part of Joan Mitchell Foundation's ongoing collaboration with Voices of Contemporary Art (VoCA), please join us on Saturday, December 9, when artist Marcos Dimas sits down with fellow artist and VoCA Program Committee member Jonathan Allen to discuss his life, work, and artistic legacy.

The combination of art and self - sustainability will merge together as the artists live off the land and experience how everyday life affects artistic practice.

To celebrate the important role of printmaking in the history of the Provincetown art colony, as well as its central place in the artistic lives of many who have held the Visual Arts Fellowship, a number of artists and master printers supportive of the Work Center are joining forces to create a limited - edition portfolio of prints.

Exhibitions and Productions Bow Arts (2017), «Rhino», London (solo show) Bow Arts (2016), «Desire Caught by the Tail», London (solo show) Wimbledon Space (2016), «The Golden Face Lift» (solo show) Dyson Gallery (2016), «Act Natural», London (exhibiting artist) Riverlight Gallery (2015), duo exhibition, London (exhibiting artist) The Rag Factory (2014), «Love Kills», London (as Artistic Director of LUXE / performer) The Chelsea Theatre (2014), «Love Kills», London (as Artistic Director of LUXE / performer) Floating Island Gallery (2014), group show, (exhibiting artist) Spill Festival (2013), «PORN», Ipswich (exhibiting artist) Departure Foundation (2013), group show, «Unperforming» (exhibiting artist) Testbed Gallery (2013), group show, «acts of 2», (exhibiting artist and curator) Testbed Gallery (2012), group show, «acts of», (exhibiting artist and curator) Freud Museum (2011), group show, Objects of Desire, London (exhibiting artist) Battersea Arts Centre (2010), Accidental Festival, London (exhibiting artist) Blue Print (2010), group show, In Time, London (exhibiting artist) perFORM (2009), group show, Triangle Space, London (exhibiting artist) Live Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and perforLive Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and perforlive performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performer)

With his signature quick wit, Wegman reflects on his life as an artist and on his artistic heroes.

For noted art historian and author James A. Porter, Charles White was one of the great interpreters of the history and culture of black Americans: «Charles is an artist steeped in life; and his informed artistic vision conduces to an understanding of vivid pictorial symbols which, through large as life itself, are altogether free or false or distorted ideas or shallow and dubious emotion.»

Brought up between Qatar and Washington State, artist Sophia Al - Maria is currently offering us a unique artistic purview, tackling as she is the underrepresented subject of modern life in Gulf Arab nations.

The free event and three - day programme, founded and run by artists, features exhibitions, performances, publications, screenings, workshops and seminars — as well as one - day symposium — responds to the increasingly nomadic nature of artists and artistic practice, questioning «how we live together in a global community».

Pop Life, the exhibition at Tate Modern formerly known as Sold Out (until one of the artists featured in the show vetoed the title), is a noisy, rambustious, rhinestones - and - fast - cars kind of a show, focusing on the Warholian notion of good art as good business and anatomising this tendency in artistic practice from Warhol and Jeff Koons to Martin Kippenburger and Richard Prince.

As a husband and wife team and artistic duo, Rob and Nick have been collaborating for over 20 years, with their work housed in collections at: The Hague; Victoria & Albert Museum; Mauritshuis; Frans Hals Museum; David Roberts Foundation; Städel Museum; Foundation Custodia, as well as being the only living artists to show a work at the Frick Museum, New YorAs a husband and wife team and artistic duo, Rob and Nick have been collaborating for over 20 years, with their work housed in collections at: The Hague; Victoria & Albert Museum; Mauritshuis; Frans Hals Museum; David Roberts Foundation; Städel Museum; Foundation Custodia, as well as being the only living artists to show a work at the Frick Museum, New Yoras well as being the only living artists to show a work at the Frick Museum, New Yoras being the only living artists to show a work at the Frick Museum, New York.

As a bold further development of his still lifes set within studio interiors, these works use the self - reflexive image of the artist's own workroom to critically question and overcome the traumatic experiences of war and the artistic unsettledness that came with them.

Six socially conscious artists are invited to engage vendors, customers and the Market itself in their artistic processes as a means of co-generating experiences centered on the life that unfolds outside Cuchifritos Gallery, the art space of the Artist Alliance Inc..

The middle panel alludes to the indexical trace of a fingerprint, similar to Rauschenberg's 1964 Self - Portrait (for «The New Yorker» Profile), also included in this exhibition, with a spiral - patterned text that documents significant events of Rauschenberg's life and artistic career, centering on a photograph of the artist as a child surrounded by his family.

Opie is an artist of contemporary life, using urban and rural landscapes, as well as moving figures, to bring time - honoured artistic genres into the twenty - first century.

This programme was the first documentary film about a living artist made for British television and its producer John Read went on to make five more about Henry Moore throughout his life as well as many others on leading artistic figures of the 1960s and 1970s.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

A preview of artistic duo Walter & Zoniel's new series, The Untouched, reviving a nineteenth - century technique known as tintype, reflects this with life - size portraits of British icons displayed in the Stamp Staircase alongside a video of the artists» process.

Exhibition invitation April 23 — May 22, 2010 Participating Artists: Michelle Grabner, Katharina Grosse, Brad Killam, Philip Vanderhyden & Molly Zuckerman - Hartung The exhibition, «I speak now from the aesthetic and artistic point of view when I say that life with Michelle Grabner is dull» brings together the work of four antithetical painters who Michelle Grabner, the Chicago - based artist, heralds as profoundly enabling to her own unvaried and unimaginative abstract investigations.

The eighty works in the exhibition by artists such as Paul Gauguin, Camille Pissarro, and Jean - François Millet, represent both a celebration of the pre-industrial conditions of rural life, labor and landscape, and an artistic primitivism of deliberately crude print - making techniques and styles.

As the premier showcase for Western contemporary art, the Ann Korologos Gallery proudly represents 30 national and local Western artists representing diverse artistic traditions: bold post-expressionist still lifes by Angus Wilson, expressive drypoint monoprints and monotypes by Paula Schuette Kraemer, and meticulous linocuts showing the astute observations of nature by Sherrie York.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Providing artists from abroad accommodation and an exhibition space to present, but more importantly guidance and company into a realistic encounter of daily life as an artist in Yogyakarta, has led to increasing curiosity and attention for the city as artistic center in Southeast Asia.

An iteration of Living as Form (The Nomadic Version) was presented, including artist Federico Guzmán to bring a world of culture and artistic practice to the Sahrawi refugee camps over a period of fifteen days.

A casual community, a network of acquaintances, and an underground economy, the exhibition suggests, were as crucial in sustaining the lives of these then little - known artists as they were in shaping their burgeoning artistic practices.

The Judd Foundation, the former home of artist Donald Judd, will open to the public this summer as a preserve of artistic integrity and precision in New York's SoHo, a neighborhood that has come to resemble nothing so much as a shopping mall since the years Judd lived there.

They influence creative life in Russia, form the basis of younger generation's artistic ideals, and provide examples of a successful career as an artist living and working in the country.

The wide spectrum of his artworks — ranging in media and entangling different temporalities and geographies — unveils an intimate portrait of the artist as a polymath, whose artistic work is an integral part of a larger, holistic approach to life.

This idea swims against a tide that has been gathering strength since the post-war period, when artists began to work seriously at shrinking that separation between art (that is aesthetic intervention) and life (the everyday, social relations that describe what this exhibition regards as our supposed purgatory in contrast to a heaven of artistic concerns).