Sentences with phrase «as an art critic on»

• Donald Judd (1928 - 94) An iconic figure of American abstract sculpture, he began his career as an art critic on Arts Magazine.

She is now working as an independent curator and consultant for emerging artists in Paris, while continuing to write as an art critic on her blog, «Art is a Conversation».

Not exact matches

As it stands, most critics rely on the popularity of the work of art for the popularity of their review.

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenAs Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenas an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

I have long remembered the remark of a notable art critic — though I have forgotten which one — that many modernist paintings could be understood as fragments of classical painting blown up for their own sake, displaying the formal and technical elements by which painting is accomplished but eschewing the narrative depiction within which such patches of paint on canvas would earlier have had their place.

As the late art critic Robert Hughes once pointed out, «The new job of art is to sit on the wall and get more expensive.»

Governor Rauf Aregbesola of Osun State has described his critics on the alleged huge debt profile of the state as individuals with no clear - cut understanding of the art of governance.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

Critics, most of whom I'll assume have greater interest in, a better understanding of, and a firmer position on Israel - Palestine than me, gave it low marks, with nineteen «top» and sixty overall reviewers both yielding a measly 16 % on Rotten Tomatoes» oft - cited Tomatometer, a score largely unheard of for independent art house fare such as this French - Israeli - Italian - Indian co-production.

Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The film delivers baroque art from its convulsive catalepsy.»

Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as art film distributors are saying, we're still working with the inclusion of Iran and Taiwan).

Petit also looks at Farber as a painter and an art critic and Hickey as an art critic, a resident of Las Vegas, an appreciator of Farber, and a commentator on American culture.

Set in 1964 Paris and based on the recollections of American expatriate art critic James Lord, Final Portrait depicts Giacometti as a rumpled curmudgeon.

All About Eve (1950, Joseph L. Mankiewicz): «Fasten your seat belts, it's going to be a bumpy night,» says diva supreme Bette Davis in this immortal take on the freaks of the theater, including Anne Baxter as Davis» cutthroat protégée, George Sanders as an acerbic critic and the young Marilyn Monroe as a budding talent who trained, claims the critic, «at the Copacabana School of Dramatic Arts.»

censored for TV line; a 2 - sided fold - out poster with new artwork on one side and the film's original poster art on the other; and last but not least, a 24 - page insert booklet with the essay «Circus Bizarro: Killer Klowns, Then and Now» by film critic James Oliver, as well as restoration details.

It may not have sounded like much on the surface (another reason why it probably didn't do very well with audiences or most critics) but legendary director Hill (the man behind such classics as «The Warriors,» «48 HRS» and «Streets of Fire») brought both his impeccable technical gifts and a genuine sense of personal style to the proceedings that elevated the material to something that came far closer to what one might refer to as «art» than one might rightly expect from a genre picture these days.

Her husband John Ruskin — famous to this day as an art critic, a writer on sundry subjects, and a watercolor painter — refused to consummate the marriage throughout its six years» time.

Though it received a fairly solid 68 percent on — please stop reading here if you're Martin Scorsese — Rotten Tomatoes, it was deeply polarizing, throttled by some critics as «the worst film of the century,» and hailed by others as a wholly unique, engaging piece of art.

An animated art debate Futurism - Cubism was going on in Paris those years, so here I placed also quotes of the Futurist critic on Cubism by the artists Carra, Boccioni, and Severini, as well as those of Malevich, Chagall, Franz Marc and even Chaim Soutine.

A great example of this is from early on in the game in which you have to blackmail a code to a safe out an art critic by proving that he was lying about his whereabouts, while having Nico distract the investigator who had just entered as you attempted to open the safe.

Some of you might already know, but for those who don't, Fumita Ueda is the man behind «Ico» and «Shadow of the Colossus», two games hailed by both fans and critics alike as being two of the best examples on the pro-side of the «Games as Art» debate; the third game in the series, «The Last Guardian», is already being anticipated to be of equal quality.

As part of his presentation, Lyons made a pitch for academics and critics to consider the possibility of what he called «prank theory» — a theory that would enable scholars to study and put an official seal of approval on art history's great pranksters.

An art critic for the Gazette des beaux - arts, Ephrussi wrote books on Albrecht Dürer and Paul Baudry, which are installed in vitrines along with copies of the magazine as well as two sales catalogues from 1913 related to his collections.

Donald Moffett, whose paintings and prints are currently on view at the Blanton, discusses growing up in San Antonio, and his career as an artist and an activist based in New York with acclaimed novelist and art critic Jim Lewis.

Despite the pronounced effect on his work of the hugely influential Russian - born French painter Nicolas de Stael, described by the art critic Marco Livingstone as, a godsend to Kinley, the young British painter apparently, trod a solitary path that has made him difficult to place in the pantheon of Modern British art.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition..on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

As part of the larger «culture wars» of the mid-century, art critics began to take on greater influence than they'd ever held before.

Abstract Expressionism's hegemony was on the wane, while the media - and consumer - driven ethos of Pop Art and the «art as pure idea» philosophy of Conceptualism rapidly gained ground with audiences and critics aliArt and the «art as pure idea» philosophy of Conceptualism rapidly gained ground with audiences and critics aliart as pure idea» philosophy of Conceptualism rapidly gained ground with audiences and critics alike.

Formalist critics, especially Clement Greenberg (1909 - 1994), made much of perceived flatness as one of the qualities through which modernist painting distinguished its claims on our attention from those of all the other contemporaneous arts.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

«It's this place of the imagination as much as a real place,» says art critic Adrian Searle, discussing the landscape of mist and snow in Peter Doig's Cobourg 3 + 1 More, a highlight of Christie's Post-War and Contemporary Art Evening Auction on 7 March (view all lots beloart critic Adrian Searle, discussing the landscape of mist and snow in Peter Doig's Cobourg 3 + 1 More, a highlight of Christie's Post-War and Contemporary Art Evening Auction on 7 March (view all lots beloArt Evening Auction on 7 March (view all lots below).

As a serious art critic, I felt it my duty to get on board.

He flourished as a critic in New York from the 1940s to 1960s, but even today, decades after his best - known work and 17 years after his death, he is a totemic and constantly invoked voice on modern art.

As a critic Jetzer has written many contributions for catalogues, art magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard PhillipAs a critic Jetzer has written many contributions for catalogues, art magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Philliart magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Phillipas Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard PhilliArt, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Phillips.

Over the next decade, Judd worked as a critic for ARTnews, Arts Magazine, and Art International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaciArt International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaciart and exhibition practices would prove to be some of his most important and lasting legacies.

Critic's Pick: Few artists are as right on as Mierle Laderman Ukeles, who in her five - decade - plus career has created a generous and muscular body of work of performances, interventions, and other projects that have dealt swift, sharp blows to the systems and frameworks imposed on art and culture by capitalism.

There is a sense of estrangement in both paintings (as there is in much of the work in this room), with their subtle departures from the conventions of abstract painting — Thompson's perfect geometry drenched in oil bleeds; Martin's imperfect geometry quavering on a flimsy armature — stirring a shift in expectations and the anxieties that accompany it: a locus of confusion, hostility, and acceptance that the art critic and historian Dore Ashton called «the unknown shore.»

Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argues that much of this information (as well as the revisionists» interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists» avowed historiographic principles) decontextualized.

Among the most vocal critics of the Bushwick 200 project are Anthony Rosado, the Bushwick - born artist who, during Bushwick Open Studios, objected to the Bushwick Art Crit Group as a «predominantly white space» and eventually teamed up with the organization to put on an exhibit dedicated to neighborhood natives.

Drawing on Hogarth's critique of 18th - century society in Marriage A-la-Mode (1743 — 45), Himid's installation is a damning indictment of UK society, including the art world, in the 1980s, with Margaret Thatcher and Ronald Reagan as the countess and her lover alongside a critic and a dealer.

After giving a lecture at the University of Central Lancashire (UCLan) and New Art Exchange in March as part of her participation to FORMAT International Photography Festival, Zanele Muholi is back to London for a conversation with journalist, critic and BBC broadcaster Bidisha on 26 May.

«Art Critic Estelle Lovatt FRSA has the experience of being on both sides of the canvas; having trained as a painter, read art history and as a gallery exhibition curator, Estelle is able to teach, judge and talk about works of art, from Cave Art to Banksy, with expert opinion.&raqArt Critic Estelle Lovatt FRSA has the experience of being on both sides of the canvas; having trained as a painter, read art history and as a gallery exhibition curator, Estelle is able to teach, judge and talk about works of art, from Cave Art to Banksy, with expert opinion.&raqart history and as a gallery exhibition curator, Estelle is able to teach, judge and talk about works of art, from Cave Art to Banksy, with expert opinion.&raqart, from Cave Art to Banksy, with expert opinion.&raqArt to Banksy, with expert opinion.»

As an exceptional Turner watercolour comes to auction on 30 January, art critic Alastair Sooke and specialist Harriet Drummond explore the Turner Bequest

2017 On Bodies: GMF x UNT, The Goss - Michael Foundation, Dallas, Texas «The Critic as Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, ScotlaAs Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotland

Curated by Kate Sutton, this year's theme, Borderline, focuses on the comprehensive changes that European cultural institutions face on a political, social, and cultural level as seen from the perspectives of artists, art historians, international collectors, museum directors, dealers, critics, and curators.

On the second floor, Anthony Elms incorporates room - sized installations of ephemera from the archives of art critic Gregory Battcock in an installation organized by artist Joseph Grigely, as well as a miniature show of the collected live music recordings and related ephemera of Malachi Ritscher organized by the group Public Collectors.

Spanning practice and theory, Hockney's investigation of artistic techniques has also developed through art - historical research, resulting in Secret Knowledge (2001), his publication on the optical devices used by the Old Masters, as well as A History of Pictures: From the Cave to the Computer Screen (2016), written in collaboration with art critic Martin Gayford and further exploring the many ways artists have pictured the world.

This intellectual relationship shifted into a personal one following Krauss's enrollment in Harvard's department of fine arts as a PhD student, where she met and befriended Greenberg as she prepared her dissertation on the recently deceased AbEx sculptor David Smith, whose estate the elder critic helped to manage.

By drawing on new primary material from government archives and contemporary art critics, including Meyer Schapiro and Marta Traba, David Craven addresses Abstract Expressionism as a response to the politics of the cold war.

There she formed relationships with artists Robert Barry and Robert Morris, and worked closely with renowned art historian and critic Leo Steinberg, who had a strong impact on her work as a writer.