Sentences with phrase «as a commercial artist at»

After graduating from Chouinard, Ruscha took a job as a commercial artist at an advertising agency, but quit after a few months.

Not exact matches

I spoke to Laura Collinson about Pursuing your dreams as a commercial artist over at Creative Boom.

Whatever position one takes on his worth as an artist, one thing is for sure: Fincher has come a long way since the early days of his career, when he was known simply as yet another television - commercial and music - video wunderkind (along with, say, Spike Jonze, Mark Pellington, Michel Gondry, and others) taking some bold stabs at feature - film directing.

Michelle Grabner (Professor in the Painting and Drawing Department at the School of the Art Institute of Chicago, who also teaches at Yale, is an artist herself, and oversees two alternative art spaces in the Midwest) noted that her section of the 2014 Whitney Biennial «features artists who have come to the fore as figures of influence, both inside and outside the geographic and commercial centers of the art world.

Employment opportunities offered to our recent BFA grads include working as an artist's assistant, starting their own design / build firm, art handling and preparing, development assistant at the Rothko Chapel, web design, display design and installation, curating exhibitions, assisting with commercial photo and film shoots, interning at the Contemporary Arts Museum, Houston, and teaching, just to name a few.

BLACKLEY: I'm interested in asking you about your situation at Participant now, with commercial galleries or other more institutionalized or long - standing nonprofits, such as White Columns or Artists Space, and this kind of peer group or any sort of commonality or common practice that you may share.

These beautifully composed images accomplish another inversion in the form of their perspective: while the builders of these hulking edifices designed them to be admired by viewers looking up from the ground, the artist presents them as a view from on high — or at least from the helicopter cameras he witnessed as they panned the buildings during a commercial break from the Tour de France.

I am also always curious as to which artists from past issues of New American Paintings have made it to what is arguably the biggest stage in the commercial world today (for example, Andrew Brischler who appeared in NAP just a couple of years ago and now finds himself at the big show with GAVLAK).

Günter BRUS (b. 1938, Ardning, Austria) Inspired by German and Austrian Expressionism at the turn of the century, Brus began his career as a commercial graphic artist.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, at Tulane University's Newcomb Art Museum, consists of artworks culled from the Brooklyn - based artist, designer, animator, and commercial guru KAWS's private collection, allowing the viewer a rare insight into the artist's preferences as both a producer and consumer of works of art.

Georgina Davis worked as a commercial artist for over thirty years, at a time when few women were able to pursue independent careers in the arts.

This exhibition — again at the Whitechapel — established Richard Hamilton & Eduardo Paolozzi as the leaders of a group of artists fascinated by advertising, commercial design, and other manifestations of popular culture.

Some things, though, don't matter: mass - produced work of the Damien Hirst - model that the artist has never laid hand to; supply — that there are many Warhols still out there doesn't influence price; commercial branding — just as the basketball player LeBron James lost none of his magic by promoting an Audemars Piguet wristwatch on South Beach, so Jeff Koons was able to launch his Dom Pérignon bottle at ABMB without scratching the shine on the two sculptures that sold there.

Curating emerging to mid-career artists since 2006 at both non-profit and commercial spaces such as Cuchifritos Gallery / Project Space, artHARLEM, and NY Studio Gallery.

His early career included work as a commercial artist in advertising, and eventually he taught and became head of the art department at Chestnut Hill Academy.

Born and raised in the Midwest (first Omaha and later Oklahoma City), Ruscha took a road trip westward in the mid-1950s and landed in Los Angeles, where he studied at the California Institute of the Arts and also trained as a commercial graphic artist.

It's a question with which McMakin — a Wyoming - born artist and craftsman who studied at the University of California, San Diego, in the late 1970s and early «80s with teachers such as Allan Kaprow and Manny Farber and who today also works both as an architect and a commercial furniture designer — has spent years engaging.

As a commercial artist, Rosenquist paints billboards in Manhattan and Brooklyn, including signs in Times Square for the Astor Theatre, Victoria Theater, and Morosco Theatre, all located at Broadway and Forty - fifth Street.

In 1927, he came to New York, where he attended night classes at the Art Students League and worked as a commercial artist by day.

At the same time he maintained a full - time job at Commercial Decal, a china company in Mount Vernon, N.Y., where he started out as a decal artist and retired in 1993 as executive vice presidenAt the same time he maintained a full - time job at Commercial Decal, a china company in Mount Vernon, N.Y., where he started out as a decal artist and retired in 1993 as executive vice presidenat Commercial Decal, a china company in Mount Vernon, N.Y., where he started out as a decal artist and retired in 1993 as executive vice president.

Gray, a well - known commercial photographer in the music industry as well as an artist whose work is included in numerous museum collections, is restaging an extended performance piece suggestively located at today's perplexing crossroads of art culture and celebrity culture.

That these two great but for decades overlooked artists are finally being honored at home and abroad is directly due to the work of commercial galleries such as Andrée Sfeir - Semler, who, in 2005, opened Beirut's first blue - chip gallery for international contemporary art with a strong minimalist and conceptual bent, and Saleh Barakat, who established the Agial Art Gallery in 1990, and whose affinities lie more firmly with modernism, or the one hundred years before the contemporary began in Beirut.

After the war he continued his career as a commercial artist and became a faculty member at Agnes Scott College.

In 1916 he left school to work as a commercial artist, and he enrolled in evening classes at the Academy of Fine Arts in his native city, where he studied for eight years.

Already established as a highly successful commercial illustrator and having recently completed a full time artist residency at Gauntlet Gallery in San Francisco, where he was also a featured curator, Atomica Gallery is delighted to showcase Ireland's work in London for his highly anticipated debut solo exhibition.

At nineteen, Barbara Kruger (b. 1945) worked as a commercial artist designing for Conde Nast.

Philip Johnson asked to see me and we met at his office atop the Seagrams Building one morning in March 1966, Philip encouraged my work, Philip Johnson was enormously encouraging and inspiring and he suggested that when I made some paintings I show them to him and later that day I got a job in an advertising agency - Diener, Hauser Greenthal in the Fuller Building on 57th streetand Madison Avenue; working as a commercial artist.