Sentences with phrase «as a commercial artist by»

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.

Not exact matches

Pierre - Joseph Redoute could be called the first «commercial» botanic artist by producing prints of popular or attractive plants which he knew would sell, such as Anemone coronaria.

In «The Shape of Water,» Richard Jenkins plays a commercial artist in the early 1960s, forced by the times to keep his identity as a gay man closeted.

With 2011's I Have Become My Own Worst Fear, her first exhibition as an artist represented by a commercial gallery (PPOW Gallery), and a recently - published monograph, The Martha Wilson Sourcebook, Wilson's art is currently receiving the critical attention it deserves.

«That's come back as an important factor: Are artists supported by different constituencies, be they critical or commercial?»

The introduction by archives specialist Mary Savig explores the intersections between commercial holiday cards and the art world — how holiday cards were first marketed as «affordable art» and how selling their art to card companies often provided income for artists in lean times.

Walker Art Center, Minneapolis, MN January 29 - May 8, 2011 Contemporary Arts Museum Houston, Houston, TX July 23 - September 18, 2011 Montclair Art Museum, Montclair, NJ October 8, 2011 - January 1, 2012 Ackland Art Museum, Chapel Hill, NC January 14 - March 18, 2012 Inspired by artist Mike Kelley's observation that «the mass art of today is the folk art of tomorrow,» The Spectacular of Vernacular embraces the rustic, the folkloric, and the humbly homemade as well as the crass clash of street spectacle and commercial culture.

Often hinging on frameworks of social or commercial labor, such as the day - to - day activity of gallery staff, X-ray machines, or FedEx shipping operations, his photographic and sculptural works are each indexical products of transactions — whether initiated by, or exposed by the artist.

While the Green Gallery was not a commercial success, it was distinguished by Bellamy's wide - ranging taste and his presentation of artists working in directions that soon became recognized as vital trends.

With the financial and programmatic risk of supporting unaffiliated or lesser - known artists being shouldered by commercial galleries, the non-profit must now distinguish itself by operating as a small museum or Kunsthalle, providing infrastructure, resources, and commissioning projects on a comparable or larger scale.

Acting as a commissioning agency as well as a production company, Performa provides a support system for its artists, from initial proposal through opening night and touring, that far surpasses the customary assistance given by its nonprofit counterparts and those of the commercial sector alike.

As a time marked by underground political dissent, the 1970s was a decade when artists began working small, working privately, and working beyond the boundaries of commercial gallery system.

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.

She has also authored several books on China's contemporary art scene and its history including As Seen 2011: Notable Artworks by Chinese Artists (Beijing World Publishing Corp., 2012 / Commercial Press 2012) and Nine Lives: The Birth of Avant - Garde Art in New China (Scalo, 2006, Timezone 8, 2008).

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.

But first, I have to get this off my chest: in the art world post - «Beautiful Losers» (the 2005 group exhibition that helped solidify the cultural agency of «street» and «skate» as near blue chip art buzzwords), we've been flooded with a seemingly endless amount of commercial work and fine art exhibitions by the artists included therein.

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.

Thomas began her career as a commercial artist, art director and illustrator, and switched to painting full time in the early 1980s, inspired by her move to the East End of Long Island.

The model of the hermetic artist - genius in the studio who lives off a stipend from a wealthy commercial gallery and has a museum retrospective by the time she is thirty - five has been replaced by the model of artist as creative opportunity - maker and community - builder.

It was founded in 1965 by artists Edith R. Wyle (actor Noah Wyle's grandmother) and Bette Chase as a commercial gallery and cafe called the Egg & the Eye, showcasing contemporary crafts and ethnic folk art.

Coinciding with the first ecological movements in the USA and Europe, Land Art was first created in the 1960s by artists working concurrently but sepa - rately from each other, as a critical reaction to the classical genre of sculpture and the commercial art market.

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.

Composed of grids, lines, and geometric shapes, the structures form a volumetric drawing within the space of the gallery, referencing cheap commercial constructions as well as the serial patterning of paintings and sculptures made by Minimalist artists such as Sol LeWitt and Agnes Martin.

Over the next several years Okada spent long periods in Kyoto and Paris, funded by Fulbright and Guggenheim Fellowships, interspersed with periods of working as a commercial artist for the Boeing company in Seattle.

Likewise, the emphasis on mutable collection displays over fixed monoliths is uncomfortably paralleled by a broader trend in museum operations toward perpetual newness, with showpiece buildings, event - driven spectacle, and an inevitable closeness with the commercial art market as more and more space is given over to emerging contemporary artists.

Playing on the Barclays Center's «Oculus» screen through March 5 as part of the Public Art Fund's «Commercial Break» series, Meriem Bennani's 30 - second video piece «Your Year by Fardaous Funjab,» features an «advertisement» for the artist's fictional hijab design.

Having worked initially as a commercial photographer, Woodman brought a commercial eye to the documentation of contemporary art, which resulted in a groundbreaking vision which was recognised and highly valued by all the artists with whom he worked.

The arbitrary reality of the art market is explicated by its accelerated tempermentality; the practices of speculative collectors - in search of their own «golden eggs,» - beget predictable patterns of frenzy, overvaluation and subsequent commercial rejection, as well as perpetually unstable financial situations for artists.

Viewed as an alternative to the diminishing commercial gallery scene, in hindsight it seemed like they were fueled by the overarching need for artists to show their art and talk about it, with or without a functioning art market.

Artists such as Michael Heizer, Donald Judd, and Robert Smithson began to set their minimal work in the American frontier, where art could transcend the commercial and physical boundaries imposed by galleries and museums.

By reducing the information on the cover to a discussion of bar codes and logos, we were able to focus attention away from the individual artist and instead emphasize the book's position as an object within a commercial system of display and circulation.

The Suburban compound — a duo of cinderblock huts outside the Grabner - Killam residence — could be understood as an anti-Chelsea, a space by and for artists that attempts to circumvent commercial and institutional means of distributing art.

And to top it off, Gioni also serves as artistic director for the Fondazione Nicola Trussardi in Milan; this April, he and Vincenzo de Bellis presented a site - specific work by British artist Sarah Lucas in an underground former commercial space.

Taking vast, remote landscapes and the ephemeral conditions of nature as their sculptural canvas, these and other artists staged their own protest by rejecting traditional sculptural forms and practices, rigid modernist theory and the commercial confines of the museum - and - gallery system to create frequently massive land art works that heightened awareness of our relationship with the earth and challenged accepted definitions of art.

As an organization dedicated to solo presentations by UK - based artists who are currently not represented by any UK commercial gallery, Zabludowicz Collection is once again on its mission with Victoria Adam's show.

Started in 2016 by entrepreneurs and collectors Deborah and Andy Rappaport and comprised of multiple rehabbed warehouses, the compound rents out commercial gallery spaces, as well as studio and fabrication space for artists.

Seen by many as the High Priest of Pop - art, Warhol enjoyed a successful career as a commercial illustrator, before achieving worldwide fame for his pop - style painting, screenprints, avant - garde films, and a lifestyle involving a mixture of Hollywood stars, intellectuals, avant - garde artists and underground celebrities.

While Chelsea may be asleep, I've always find that the end of the summer presents itself as a golden nugget of opportunity for lesser known artists and curators to take over unoccupied gallery spaces, and to garner publicity usually hogged by larger commercial galleries.

Organized by the Marlborough Chelsea gallery, a commercial venture, with the help of the nonprofit Broadway Mall Association and the city's Parks Department, it is intended as a 10 - artist group show, the first along Broadway, where public exhibitions are usually devoted to a single artist.

Be this as it may, Land art was also a protest by a number of contemporary artists against the commercial straitjacket imposed by materialistic art galleries and dealers.

As the show starts skipping across the postwar period to the present, it becomes a roll call of blue - chip, auction - approved artists, most of them represented by a handful of commercial galleries.

For today's bumper crop of degree - toting, ready - made «insider» artists, the outsider artist remains an alluring exotic; his or her apparent distance from the commercial and social responsibilities that are the machinery of the art industry are viewed by many as a badge of credibility.

WAR / PHOTOGRAPHY comprises iconic images as well as previously unknown pictures, taken by military photographers, commercial photographers (portrait and photojournalist), amateurs and artists.

I really like his thoughtful, elegant small paintings and was surprised that they were actually inspired by commercial signs and cigarette packs — Dick remains one of my favorite artists and a lovely person as well.

Stylistically, the artist's work is informed by a diverse range of sources, including Abstract Expressionist painters such as Franz Kline and Clyfford Still, Japanese calligraphy and woodcuts, and pop - era artists such as Rauschenberg and Warhol, who recontextualized commercial techniques within the paradigm of painting.

Works by such Pop artists as the Americans Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana and the Britons David Hockney and Peter Blake, among others, were characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography — taken from television, comic books, movie magazines, and all forms of advertising — was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed.

Considering the increasing popularity of African art this makes commercial sense as well as giving Londoners the opportunity to see art from galleries and by artists they may not be aware of.

In this context Point of View as a collection represents how artists offer up an alternative to mainstream, mass - produced culture's content by combining the imaginative and innovative properties identified with high art with forms and subjects drawn from advertisements, commercial movies, graphic and industrial design, science fiction, and popular music.

It's not a museum, but here is a list of just some of the current offerings: an up - to - the - minute program of filmic contemplations on race by one of today's most sought - after American artists (Carrie Mae Weems); an invigorating pairing of enigmatic artists from the mid-20th century (Francis Picabia) and today (Sigmar Polke); witty, laboriously hand - carved wooden replicas of cheap plastic seating by a young South African (Cameron Platter); little - seen commercial work by an artist best known for his ruminations on photographic truth (Larry Sultan); a reinterpretation of a well - known installation - cum - performance from the 1980s (originally by Sultan and Mike Mandel); a show of serious political works by distinguished artists, pitched as an interactive project to young audiences («Rise Up!