Sentences with phrase «as a commercial artist in»

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.

Jack Bush was raised in London, Ontario and Montréal, Québec where he worked initially as a commercial artist in his father's Montréal firm, Rapid Electro Type Company.

He continued to work as a commercial artist in Toronto until his retirement in 1968, from 1942 on in partnership with Leslie Wookey and William Winter.

This exhibition presents Warhol's book work, from early student - work illustrations of the late 1940s, through to his careers as a commercial artist in the 1950s, Pop fine artist and underground filmmaker in the 1960s, and photographer and Pop culture icon of the 1970s — 80s.

Having grown up within the early days of snowboarding lifestyle, Parillo began painting in the 1990s while working as a commercial artist in the action sports industry.

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.

Tanning, who was largely self - taught, began her career as a commercial artist in Chicago in 1930 and a few years later she moved to New York.

After a period of working as a commercial artist in Chicago, she returned to painting in 1912 and read the first translation of the abstract painter Wassily Kandinsky's «Concerning the Spiritual in Art.»

Not exact matches

Tim, who has co-written over 400 commercial treatments and music videos with directors including: Wim Wenders, Richard Ayoade and Jonas Ackerlund, for clients and artists such as: Lady Gaga, Honda, and Louis Vuitton, opined that, though he haven't watched Ghanaian movies before, he likes African stories and since he's in Ghana to learn and see how to assist both the needy through Obiba Foundation and people in film - making, he has started watching Ghanaian films.

In the 1930s, people like him were called «commercial artists», proud of their skill in rendering the high - lights on a steamed jam pudding but equally willing to knock out drawings for products as yet unmadIn the 1930s, people like him were called «commercial artists», proud of their skill in rendering the high - lights on a steamed jam pudding but equally willing to knock out drawings for products as yet unmadin rendering the high - lights on a steamed jam pudding but equally willing to knock out drawings for products as yet unmade.

The fine line between failure and success is as thin as the thread that separates love and tragedy, and in this tale of a self - destructive artist attempting to regain his identity after a harrowing bout with commercial success, one man finds out just how difficult it can be to built a stable future on the foundation of an uncertain past.

Collectively they feel like a triumph over the long - simmering tension between art and commerce — between personal expression and commercial concerns — that has seen renewed debate in the film industry as artists endeavor to make movies that feel like more than another episode in a series.

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 closeteIn «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 closetein the early 1960s, forced by the times to keep his identity as a gay man closeted.

(My personal theory is that Gerwig discovered Supertramp as a teen the same way I did, via a 2001 Gap holiday commercial in which various artists sang parts of «Give a Little Bit.»)

(Grade: B)-- Lake Bell's charming In A World may be the first film to explore the occupation of voice - over artists (otherwise known as the folks with soothing and booming voices narrating trailers and commercials).

«Starting with the background of the blighted Hell's Kitchen neighborhood and the building's initial commercial failure in the mid-1970s, the story recounts how - in a moment of bold inspiration or maybe desperation - the buildings were're - purposed» as subsidized housing for people who worked in the performing arts, becoming one of the first intentional, government supported, affordable housing for artist residences.

Filmed in aqueous greens and blues, its period design dripping with kitschy nostalgia and retro - futurism, «The Shape of Water» takes its cues from Golden Age Hollywood, including musicals, Bible epics and 1950s creature features, as well as the sleekly optimistic advertising imagery of the early 1960s: Elisa's best friend and next - door neighbor, Giles (Richard Jenkins), is a commercial artist working on a campaign for Jell - O, the shaky symbolic repository for the time period's most uncertain hopes and anxieties.

When the city elected a new mayor — Marty Walsh — for the first time in 20 years, Cavallo saw it as an opportunity for change in the city, particularly for contemporary artists facing challenges ranging from lack of affordable studio space to limited commercial opportunities in the city.

I first started seriously writing in the mid-1980s when it was still called «vanity press» and saw commercial publication as a form of validation as an artist.

In over a decade collaborating with clients as a book cover artist and commercial graphic designer, I've come up with proven tips every fiction author should employ when navigating the book cover design process.

He worked in the commercial industry in New York before making his way to Wideload Games as a staff concept artist.

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.

Pop artists abandoned traditional modes of printmaking such as etching and woodcut in favor of more commercial approaches to the medium.

Rhoades, who received his MFA from UCLA in 1993, studied with seminal artists Richard Jackson and Paul McCarthy, and cites Dieter Roth as a major influence, but, unlike these artists, never achieved in his own lifetime the far - reaching commercial notoriety and success that they did on an international scale.

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.

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.

While Pop artists like Andy Warhol with his Brillo Boxes and Campbell's soup cans may have introduced the idea of a basic consumer brands as fodder for fine art, it wasn't until the»80s that artists began using commercial culture as an artistic medium in and of itself.

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.

Richter was born in Dresden, East Germany in 1932, and after working as a scene painter and commercial artist, enrolled in the art academy there.

Mediating a collaboration with artist Tsuyoshi Osawa, curator of the miniature so - called «Nasubi Gallery» which takes its form from the once - common Japanese milk - box, the self - appointed «Smallest Gallery in the World» was first launched in 1993 as a parody and protest against the prevailing 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.

Brooklyn - based artist and commercial - studio - building developer Stef Halmos talks about: How she feels about Greenpoint's gentrification arc, as a 12 - year resident there herself; her commercial development in Catskill, New York, two hours north of...

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).

Wayne Thiebaud (b. 1920) and Robert Mallary (1917 - 1997) met while working as commercial artists for Rexall Drug Company, in the 1940s.

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).

Contemporary ideas of domesticity are on trial in this group show, as artists like LaToya Ruby Frazier, Robert Gober, and Paulina Olowska examine how our interiors have become more commercial and political over the past century.

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.

Born in Warrnambool in 1893, and invalided out from Second Bullecourt in 1917, Battarbee trained as a commercial artist during a decade - long convalescence from his wartime injuries.

That includes commercial interruptions, such as the gift shop in the middle, for which the artist has designed the merchandise.

According to the biography in «Baltimore County Women, 1930 - 1975» listed below, Jane had previously been working as a commercial artist «for department stores and advertising agencies», but she «gave up her career in commercial art for marriage and a family» (p. 16).

LH: I appreciate booths that are carefully curated and maintain the integrity of the artists, as if it was a museum show, opposed to booths that have only commercial aims in mind and try to hang as many paintings together which have nothing to do with one another just for the purpose of sales.

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 greateIn 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein its lesser relationship to the greater.

She started a free lance commercial art business in 1963; copyrighted a National Cartoon, 1976 she served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976 - 1978.

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.

But art in Chicago is in many ways exceptional: without a robust commercial framework, artists have often used adversity as a platform for change.

He took on commercial work for such clients as Macy's and joined the Artist's Union of the CIO in 1937 as well.

In his working process, he emphasizes his intention to obstruct the notion of the photographer as a solitary artist, and instead highlights the collaborative process of a working commercial photographer.

As commercial galleries become artist - owned and cooperative galleries become more respected for their high quality art and the freedom they give their artists, Viridian has maintained that critical balance necessary to compete in today's diverse art community.

The campus is in proximity to prestigious art institutions such as the High Museum of Art, Atlanta Contemporary, MOCA GA, and a solid network of commercial galleries, alternative spaces, and grassroots artist organizations.