Sentences with phrase «as a young artist out»

In the early 1990s, as a young artist out of graduate school at Bennington College in Vermont, where he studied the work of mainstream abstract painters such as Helen Frankenthaler and Kenneth Noland, Odita got a job at Kenkeleba House in New York, owned by the painter Joe Overstreet, who collected and showed work by African American artists.

Not exact matches

Crack the code and you can read the messages, but as a hint, Venter revealed the quotations: «To live, to err, to fall, to triumph, to recreate life out of life,» from James Joyce's A Portrait of the Artist as a Young Man; «See things not as they are but as they might be,» which comes from American Prometheus, a biography of nuclear physicist Robert Oppenheimer; and Richard Feynman's famous words: «What I can not build I can not understand.»

young, athletic music artist that enjoys nights in as much as nights out, easy to please and highly energetic... devwestwood at g mail dot comm feel free to hit me up if you are interested

With the balance of their friendship hinging on whos getting the most out of it, Life amounts to an elegantly crafted, intensely cynical, double portrait of the artist as a young man.

The «IDGAF» singer posted a photo of herself as a cute baby with the caption: «I picked up the phone and found out I am the youngest female artist to hit 1 BILLION views on a music video».

The 7 - year - olds gleefully shouted out ideas about what would happen next, while the 13 - year - old, an excellent artist, translated the ideas into a coherent story and sketched the scenes on the blackboard almost as fast as the younger children could describe them.

But when a young artist rents out one of her rooms as a studio, she finds herself understood and seen by her new lodger in a way she's never experienced.

In Second Quest, a graphic novel out today from writer Tevis Thompson and Braid artist David Hellman, the familiar motifs of the Zelda games get turned upside down in an original story that reexamines the legendary Nintendo games and video game culture itself — and recasts the green - capped hero as a fiercely curious young girl named Azalea.

As a young artist just starting out all of Cory's content has been so helpful for me.

The London - born artist, named one of the Evening Standard's «Exciting Young British Artists to Look Out For» in 2017, has won an army of high profile fans including Coldplay, whose members cited his work as inspiration for their Grammy Award - nominated «Up and Up» video.

The answer is long and complex, and has much to do with the radical shifts in culture that have occurred over the past 25 years or so, both in Britain and the world: the unstoppable rise of art as commodity and the successful artist as a brand; the ascendancy of a post-Thatcher generation of Young British Artists (YBAs) who set out, unapologetically, to make shock - art that also made money; the attendant rise of uber - dealers such as Jay Jopling in London and Larry Gagosian in New York; and the birth of a new kind of gallery culture, in which the blockbuster show rules and merchandising is a lucrative sideline.

Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis esthetically aligned with that generation's point of view; that started out as Abstract Expressionists but quickly moved to Post-Painterly Abstraction.

More contemporary practices are far from being left out with contributions from younger artists such as Caroline Tschumi, Seyoung Yoon, Walter Price, Sarah Tritz, Hayan Kam Nakache or Konstantin Sgouridis.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

That must have been poignant for her as a very young artist, to have that all laid out.

Nevertheless Robert Motherwell; Early Collages, which runs through January 5, is well worth seeing and these works, placed today in a small gallery on the Lower East Side, in the guise of having just come out of the studio of some young artist, would appear completely viable and credible as contemporary works because there are so many artists today, here in New York showing on the LES and Bushwick as well as elsewhere in the United States and Canada and perhaps globally, still working in the orbit of the aesthetic consensus of post-War formalism.

There were a few arresting installations, nonetheless, such as Danh Vo's floating gilded cardboard segments that comment on moral transgressions, for which the Marian Goodman gallery eliminated its walls; Liu Wei's architectural Library at Lehmann Maupin that collapses a metropolis to outrageous effect and, among the young artists who showed gripping promise, Aki Sasamoto's Luncheon Field, which livened the Focus section with a table perforated to suspend forks that bobbed in the breeze of a fan, and Eddie Peake's rumination on past and future that filled the Lorcan O'Neill booth with a tinted Plexiglas and steel installation involving a bear, a robot and lost Atlantis viewed through a meandering cut - out.

An international artist safely shocking enough, she gained attention as part of the Britpack and in a show of young New Yorkers out at P.S. 1.

One of the more difficult tasks for younger artists is to make abstract painting genuinely new — that is, sincerely and intelligently felt instead of performed (as with too much geometric work) or blurted out (as with too much AbEx - redux brushwork) like a rant in a family argument.

In an essay published in the catalogue of Stamos's 1946 exhibition at the Betty Parsons Gallery, Barnett Newman wrote that the younger artist's «ideographs capture the moment of totemic affinity with the rock and the mushroom, the crayfish and the seaweed,» adding that «one might say that instead of going into the rock, he comes out of it» — an image of the artist not as an inhabitant of the natural world but, rather, as its progeny.

6, 1 August, pp. 44 - 45 Johnson, Ken, Linger, The New York Times, 28 June, p. E34 Johnson, Ken, Jim Hodges, The New York Times, 31 May, p. E39 Demarest, Marty, Subterranean Sounds, The Inlander Online Horodner, Stuart, Jim Hodges, Bomb Magazine, Issue No. 79, Spring, pp. 100-101 2001 Mahoney, Robert, Jim Hodges, Time Out New York, 9 August, Issue 307 Levin, Kim, Short List, Village Voice, 7 August Smith, Roberta, Quick as a Shutter, Group Shows Shatter Conventional Wisdom, The New York Times, 6 July Schmerler, Sarah, James Graham and Sons, through August 3, Time Out New York, 19 - 26 July, Issue 304 2000 Musgrave, David, Natural Dependency, Art Monthly, November - December, p. 232 Benjamin, Marina, One sensation after another, Evening Standard, London, 5 November, p. 62 Rugoff, Ralph, Beauty bites back, Harper's Bazaar, October, pp. 234 - 235 LaBelle, Charles, Review, Frieze, September - October, pp. 119 - 120 The New Yorker, Museum of Modern Art, 11 September, p. 18 Moreno, Gean, Interview: Jim Hodges, New Art Examiner, June, p. 13 - 15 Baker, Kenneth, San Francisco Chronicle, 22 April, p. E1 & E10 Jowitt, Deborah, Amour, Sex, and All That Jazz, The Village Voice, 29 February, pp. 61 - 62 Keats, Jonathon, Letters to a young Artist, San Francisco Magazine, February, pp. 56 - 57

Now 87, Mr. Irwin started out, as did many young artists entering the field in the 1940s and 50s, in thrall to Abstract Expressionism.

«I applied to the RA Summer exhibition because it seemed like a thing to try out as a young artist discovering London.

In 1968, after dropping out of his course, Penone presented his first solo exhibition; a year later, he was included as the youngest figure in the art historian Germano Celant's influential book Arte Povera, which effectively fused many of Italy's leading postwar artists into a loosely bound movement.

Sarah Lucas, the woman once described as «the most unabashedly all - balls - out, rock»n' roll of the Young British Artists», has been chosen to represent the UK at next year's Venice Biennale.

They're not going to burn out as sometimes happens with younger artists... and normally the prices are far below the other artists of their generation, so you're offering a value to someone.»

Rebels Artists Fuel Establishment Riches — Souren Melikian points out the irony that «art produced... by young rebels who challenged the establishment,» such as Basquiat, Pollock, and Lichtenstein, was the fodder for the biggest sale in history, with the proceeds going to far - from - anti-estabishment pockets.

«Viva Arte Viva» will, I suspect, be remembered as a middling event — a bit out of touch, with no real standout work, albeit with an admirable commitment to highlighting overlooked artists and presenting some good work by promising young ones (like Guan Xiao, Rachel Rose, and Agnieszka Polska).

Ms. Anderson's recent, only - slightly - larger show at the Bed - Stuy Love Affair project space, her current one - work solo outing at SculptureCenter and now this exhibition position her as one of today's most interesting young artists.

A generation younger than the abstract Expressionists artists such as Leon Kossoff, Frank Auerbach and Lucian Freud shared with their New York colleagues a sense of existential angst, expressed through an extended process of scraping out and overpainting that reflected their quest to encapsulate intense feeling by sheer insistence.

Over late - night drinks Schnabel told him: «What you really need to do as a young artist is to figure out where you fit in art history, find your place, and then move into that new direction instead of rehashing what you've already done.»

2008 Never let the truth get in the way of a good story, Site Gallery, Sheffield, UK A Recent History of Drawing & Writing, ICA, London, UK Playtime, Betonsalon, Paris, FR Panorámica ciclo de video, Bailando sin salir de casa, Museo Tamayo arte contemporáneo, Bosque de Chapultepec, Mexico, MX Wouldn't it be nice, Somerset House, London, UK Out of sight, Proyectos Monclova, Mexico, MX AWOL — Biennale of Young Artists, META Cultural Foundation, Bucharest, RO Wouldn't it be nice, Centre d'art Contemporain, Zurich, CHSelf Storage, Curatorial Industries, San Francisco, US I desired what you were, I need what you are, Galleria Maze, Torino, IT Within the big Structure, Megastructure, Berlin - Mitte, Berlin, DE Delirious Beijing, PKM Gallery, Beijing, CN Life on Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, US Revolutions — forms that turn, 16th Biennale of Sydney, AU As it presents itself, Whitstable Biennale, Whitstable, UK Featuring, Galerie Chez Valentin, Paris, FR The flight of the Dodo, Project Arts Centre, Dublin, IE One of these things is not like other things, Unosunove Gallery, Rome, IT Art Now Curate, Tate Modern, London, UK Inaugural Show, Marz Galleria, Lisbon.

NAME: @loicgouzer AFFILIATION: Christie's postwar and contemporary art specialist WHY FOLLOW: As the curator of Christie's edgily branded «If I live I'll See You Tuesday» auction featuring fresh work by much - speculated - upon young artists, Gouzer ingeniously used his personal Instagram account to build anticipation for the sale by doling out sneak peeks of its 36 handpicked artworks in the run - up to the action.

Just as a young man hanging out at the mall performs black masculinity through his look, walk and speech, artists like Kerry James Marshall, Wangechi Mutu and Yinka Shonibare are cast in the role of «black contemporary artist» — a role they pilot with dexterity and finesse.

As with the Cai drawing and the rapid growth of its post-1900 holdings, the MFAH has taken on parts of the de Menil legacy such as supporting younger artists - think of the MFAH's Core Fellows residency program - and reaching out to the diverse communities that visit the Menil in far fewer numberAs with the Cai drawing and the rapid growth of its post-1900 holdings, the MFAH has taken on parts of the de Menil legacy such as supporting younger artists - think of the MFAH's Core Fellows residency program - and reaching out to the diverse communities that visit the Menil in far fewer numberas supporting younger artists - think of the MFAH's Core Fellows residency program - and reaching out to the diverse communities that visit the Menil in far fewer numbers.

The core of the selected 58 artists consisted of the major artists of the «85 New Wave such as Geng Jianyi, Gu Wenda, Huang Yong Ping, Liu Wei, Long - Tailed Elephant Group, Qiu Zhijie, Xu Bing but also, to a lesser extent, younger artists such as Zhang Huan, Cao Yong, and Wu Tien - Chang.7 As numerous group exhibitions featuring contemporary Chinese arts in Europe and North America, Inside Out also claimed to be the first and most representative large presentation of the recent art production from China providing a unique space to understand «China.&raquas Geng Jianyi, Gu Wenda, Huang Yong Ping, Liu Wei, Long - Tailed Elephant Group, Qiu Zhijie, Xu Bing but also, to a lesser extent, younger artists such as Zhang Huan, Cao Yong, and Wu Tien - Chang.7 As numerous group exhibitions featuring contemporary Chinese arts in Europe and North America, Inside Out also claimed to be the first and most representative large presentation of the recent art production from China providing a unique space to understand «China.&raquas Zhang Huan, Cao Yong, and Wu Tien - Chang.7 As numerous group exhibitions featuring contemporary Chinese arts in Europe and North America, Inside Out also claimed to be the first and most representative large presentation of the recent art production from China providing a unique space to understand «China.&raquAs numerous group exhibitions featuring contemporary Chinese arts in Europe and North America, Inside Out also claimed to be the first and most representative large presentation of the recent art production from China providing a unique space to understand «China.»

As a sneak peek to the knock - out exhibition «Fresh Perspectives» at Mark Moore Gallery surveying a selection of young, emerging artist opening September 12th, Beautiful / Decay conducted an exhibition preview extravaganza.

To better understand these ghosts that haunt the landscape of contemporary artistic practice and politics, I spoke with several young artists to find out whether they felt unencumbered by the prejudices of the past, as Isaacs optimistically described, and whether feminism does indeed have something to say today.

The 1939 - 1949 frame inevitably leaves out many important older and younger artists of the time (just as the limits of wall space impose other exclusions), but the subject of this show is not the entirety of New York abstract painting of the 1980s, rather what a specific generation contributed to it.

He had the good luck later, in 1975, to meet the young New York artist Charles Atlas, who became his official documenter and, as it turned out, collaborator.

«Sable is emerging as one of the most interesting voices out of a young generation of artists whose work tackles complex issues, such as mass imprisonment and how the incarceration system affects our lives,» says Cecilia Alemani, director and chief curator of High Line Art.

As artist Coco Fusco would rightly point out later, the ensuing debate brought to reality the Scanlan character's «castration fantasy about white male erasure» at the hands of a newly empowered group of younger, politically savvy artists and critics who read the works not from Scanlan's vantage point, but as women of coloAs artist Coco Fusco would rightly point out later, the ensuing debate brought to reality the Scanlan character's «castration fantasy about white male erasure» at the hands of a newly empowered group of younger, politically savvy artists and critics who read the works not from Scanlan's vantage point, but as women of coloas women of color.

Moreover, in New York the Abstract Expressionism (check out our article about Pollock here, and about Abstract Expressionism here) was already living a crisis, and the Europeans — as well as the young generations of American artists — wanted to come back to the figurative works.

Group exhibitions include Production Site: The Artist's Studio Inside - Out, Museum of Contemporary Art, Chicago (2010); Chasing Napoleon, Palais de Tokyo, Paris (2009 — 10); Space as Medium, Miami Art Museum (2009 — 10); and The Generational: Younger than Jesus, New Museum of Contemporary Art, New York (2009) as well as Wouldn't it be nice... Wishful thinking in art and design, Somerset House, London (2008); Museum für Gestaltung, Zurich (2008); and Centre d'art contemporain, Geneva (2007).

He's used his «juice,» as Parazette calls it, to support a number of younger Houston artists, mounting shows of their work in New York and Miami at his own expense - even taking out full - page ads in Artforum.

Highly regarded for her aggressively surreal, sexually knowing sculptures, Sarah Lucas broke out in the first wave of the Young British Artists in 1988 when she was included in the seminal «Freeze» exhibition organized by Damien Hirst, who has long championed her as being the strongest of the group.

As if his artwork has not been enough to permanently glue him onto the pages of art history, Baldessari has also championed emerging artists that came out of California Art Schools, further extending his legacy by influencing many younger people through his extensive teaching career.

Art schools have gone in and out of style over the years, generally serving as solid, if unremarkable pedagogical institutions that train young artists to be teachers.

The traditional focus on yet widely unknown international positions is unregularly extended by artists of an older generation, who turned out to be highly influential for a younger artistic production (such as Jan Bas Ader, John Baldessari, Trisha Brown, André Cadere, John Stezaker or Matt Mullican).

Like Robert Rauschenberg and Jasper Johns before them, in 1978 Schnabel and his friend Ross Bleckner set out as young artists on a tour of Europe.