Sentences with phrase «as a commercial artist when»

Not exact matches

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.

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.

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.

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.

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.

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.