Sentences with phrase «artists were few in number»

Not exact matches

There have always been ripoff artists around, but the numbers of scammers have ballooned since the Internet made self publishing much bigger than it was before, when there were a few people being published by vanity presses and oters who had a niche market in mind.

In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for theIn the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for thein the male dominated art world, and few support networks existed for them.

Hume is a twenty - nine year old British painter and one of a small number of provocative young artists who began to exhibit their work in London in the past few years.

Considered in terms of the social history of American art, however, he's an important figure, because, as the art historian David Driskell writes in the exhibition catalog, he was «among a small number of African - American painters in the nation working abstractly at the time, and he was among the few artists of color who were represented by a mainstream gallery in New York.»

While works by artists of African descent were few and far between, a number received special recognition with awards, acquisitions, and participation in the Focus section and Frieze Projects program.

The number of non-commercial, artist - run spaces in New York are few and far between nowadays.

In this essay Judd surveys a number of New York's most significant museums («The exceedingly impressive Frick Collection is small enough to be seen in a few hours»; «It is The Museum of Modern Art which has shown the power and quality of American Art»), as well as an assessment of notable galleries, singling out Green Gallery, an uptown gallery that showed work by downtown artistIn this essay Judd surveys a number of New York's most significant museums («The exceedingly impressive Frick Collection is small enough to be seen in a few hours»; «It is The Museum of Modern Art which has shown the power and quality of American Art»), as well as an assessment of notable galleries, singling out Green Gallery, an uptown gallery that showed work by downtown artistin a few hours»; «It is The Museum of Modern Art which has shown the power and quality of American Art»), as well as an assessment of notable galleries, singling out Green Gallery, an uptown gallery that showed work by downtown artists.

Installed among a number of large, monochromatic pictures, now known as the White Paintings (1951), and a few Elemental Sculptures (ca. 1953)-- objects combining stone, wood, rusted metal, and found objects — was a selection of his Black paintings, an imposing series of large canvases layered with newspaper and dark paint of varying finish and consistency.1 Among the works on view was this untitled canvas, now known as Untitled [black painting with portal form](1952 — 53), which the artist is believed to have begun in early 1952.2 This painting was one of several compositions that originated at Black Mountain College near Asheville, North Carolina (fig. 2), where Rauschenberg studied intermittently between 1948 and 1952.

We are pleased to be featuring a number of Kansas represented artists who do not show regularly in Wichita, as well as a few familiar faces.

HELEN FRANKENTHALER Reflections II, IV, and VIII three lithographs in colors, 1995, on Lana mould - made, all signed and dated in pencil, two annotated «P.P. I» and one numbered 15/30 (the editions were 30 plus 10 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, with full margins, Reflections II with a small handling crease in the lower margin, two with a few spots of stray printing ink in the margins, otherwise all in very good condition, framed various sizes (3)

HELEN FRANKENTHALER A Page from a Book: I - III three etchings with aquatint in colors, 1997, on TGL handmade, all signed and dated in pencil, all numbered 11/60 (there were also 16 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamps, Mount Kisco, New York, all with full margins, very minor surface soiling, a few lightly skinned areas in the margins, one with a very pale moisture stain at the upper right margin edge, otherwise all in very good condition all P. approx. 4 1/8 x 18 1/4 in.

HELEN FRANKENTHALER (b. 1928) Lot's Wife (Harrison 32) lithograph in colors, 1971, on three sheets of Japan, signed and dated in pencil, numbered 14/17 (there were also 4 artist's proofs), inscribed «Triptych», with the ULAE blindstamps, with full margins, scattered foxing and a few minor creases, otherwise apparently in good condition, not examined out of the frame, framed overall S. 134 x 35 in.

HELEN FRANKENTHALER Reflections I - II; and IV three lithographs in colors, 1995, on Lana mould - made, all signed and dated in pencil, two numbered 6/30 and one numbered 2/30 respectively (there were also 10 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, all with full margins, Reflections II with a few unobtrusive small spots of stray printing ink in the margins, otherwise all apparently in excellent condition, one shrinkwrapped, one unframed and one framed two S. 26 3/4 x 20 in.

HELEN FRANKENTHALER (B. 1928) A Little Zen, from Four Pochoirs (Harrison 29) pochoir and screenprint in colors, 1970, on Arches Imperial Rough, signed and dated in pencil, numbered 9/50 (there were also 7 artist's proofs), published by Abrams Original Editions, New York, the full sheet, the paper slightly toned, soft rippling throughout, a few small stains in places, pale time staining, otherwise in very good condition, framed S. 22 x 30 1/2 in.

HELEN FRANKENTHALER (B. 1928) East and Beyond (Harrison 41) woodcut in colors, 1973, on Nepalese handmade, signed and dated in pencil, numbered 4/18 (there were also 6 artist's proofs), with the ULAE blindstamp, West Islip, New York, with full margins, a few soft creases in the upper margin, hinged to the support in two places at the reverse of the upper margin edge (slightly showing through), otherwise in very good condition, framed B. 23 5/8 x 17 7/8 in.

This culminates three years of exponential growth through a sale format that focuses on a fewer number of only exceptional lots by artists who are world class in all the definitions of value beyond merely the financial.

Resident Artist Gallery: LESS IS MORE by Judith Kornett Dates: April 30 — May 22, 2016 Reception: Sunday, May 15, 2 - 4 pm The title of this exhibition, LESS IS MORE, is reflective of Judith Kornett's intention to create sculptures that are fewer in number but deeper in contenIS MORE by Judith Kornett Dates: April 30 — May 22, 2016 Reception: Sunday, May 15, 2 - 4 pm The title of this exhibition, LESS IS MORE, is reflective of Judith Kornett's intention to create sculptures that are fewer in number but deeper in contenIS MORE, is reflective of Judith Kornett's intention to create sculptures that are fewer in number but deeper in contenis reflective of Judith Kornett's intention to create sculptures that are fewer in number but deeper in content.

The appetite for visual stimulation in our contemporary culture — precipitated by internet technology and globalization that has produced infinite numbers of artists of all sorts in the last decade or two, while disempowering the monopoly of the few in mainstream media by giving rise to endless writers and critics who feel an urgent need to respond to such vast production — has paid greater attention to its temporal condition than any art of the past; I would argue that in the end it's the great work of art and thoughtful writing that compels multiple viewings and readings, hence rendering both immortal.

HELEN FRANKENTHALER Mirabelle (H. 169) lithograph in colors, 1985 - 90, on Arches Cover, signed and dated in pencil, numbered 31/56 (there were also 14 artist's proofs), with the Tyler Graphics, Ltd., blindstamp, Mount Kisco, New York, the full sheet, a few soft handling creases, otherwise in excellent condition S. 30 x 37 1/8 in.

signed, dated»91 and numbered 18/32 in pencil (there were also 10 artist's proofs), published by Garner Tullis, New York, a few creases and surface rubbing in the margins (may be a result of printing) otherwise in good condition, framed.

(65.1 x 78.1 cm) signed, dated «87» and numbered 68/71 in pencil (there were also 8 artist's proofs), published by 2RC Edizion d'Arte, Rome, a few soft handling creases primarily in the margins, otherwise in very good condition, unframed.

A number of well known artists were a part of this group; in addition to Mark Rothko, other artists in the Ten included: Adolph Gottlieb, Louis Harris, Ben - Zion, and Joseph Salmon, to name a few.

With a few exceptions, the selected artists were mostly born in the late 1960s and»70s; while there are a number of older and dead artists — Guy de Cointet, Jack Goldstein, Jean - Luc Mylayne, Franz West and James Turrell, for example — this is a remarkably young show.

HELEN FRANKENTHALER Barcelona (H. 55) lithograph in colors, 1977, on cream HMP, signed and dated in pencil, numbered 1/30 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, with full margins, a few scattered tiny foxmarks in the margins, otherwise in excellent condition, framed S. 40 5/8 x 31 1/2 in.

Helen Frankenthaler Free Wheeling (H. 31) etching with pochoir in colors, 1971, on German Copperplate, signed and dated in pencil, numbered 14/21 (there were also 2 artist's proofs), with the ULAE blindstamp, with full margins, a few soft creases in the margins, otherwise apparently in good condition, not examined out of the frame, framed I. 32 x 23 in.

HELEN FRANKENTHALER Soho Dreams etching, aquatint and drypoint in colors, 1986, on wove paper, signed and dated» 87» in pencil, numbered 64/71 (there were also 8 artist's proofs), with the 2RC Editions blindstamp, with full margins, a very soft crease at the bottom left margin corner, a few foxmarks on the reverse, otherwise in excellent condition, framed S. 25 1/2 x 30 3/4 in.

HELEN FRANKENTHALER Plaza Real (H. 139) etching and aquatint with soft ground in colors, 1987, on Rives, signed and dated in pencil, numbered 17/60 (there were also 12 artist's proofs), published by Editions Poligrafa, S.A. Barcelona, with full margins, a few faint surface scuffs in the lower subject area, otherwise in very good condition, framed P. 20 x 26 1/2 in.

HELEN FRANKENTHALER A Page from a Book: I - III three etchings with aquatint in colors, 1997, on TGL handmade, all signed and dated in pencil, all numbered 9/60 (there were also 16 artist's proofs for all), all with the Tyler Graphics, Ltd. blindstamps, Mount Kisco, New York, all with full margins, a few lightly skinned areas in the margins, otherwise all in excellent condition all P. approx. 4 1/8 x 18 1/4 in.

One of the problems is that when works like Heilmanns receive praise for their wit and ingenuity, it downgrades the expectations and ambitions of other abstract artists; so that now, any number of painters think that slapping a few lines and shapes around on a canvas, in a manner that vaguely represents something or other — place, memory, feeling, whatever — constitutes an abstract painting, in which it is the very ambiguity of the work which constituting the «abstract» bit.

A growing number of younger artists (and a few who have been showing for longer) are entertaining the idea of impossibility in painting.

Capps writes that «spectacle art is totally at odds with civic debate in America» because «the artists who can deliver at the scale of architecture are few in number, especially as the scale grows.»