Sentences with phrase «as an art critic through»

Not exact matches

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.

From one angle, «First Reformed» is an unreformed film critic's tour through a strain or tradition of art - filmmaking that molded him, as well as a tribute to masters including Ingmar Bergman, Andrei Tarkovsky, Carl Dreyer and, of course, Bresson.

One of the best things we can do as critics working in the Trump era is to remind people that we don't always experience history through the art of the moment.

His book, Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (PRH / Penguin; Recorded Books; OverDrive Sample), addresses criticism itself as well as the process of being a critic.

In her debut novel, Prentiss takes a more modern tack as she explores the NYC art scene in the 1980s through the eyes of an art critic whose synesthesia has made him one of the most original writers around and an exiled Argentinian artist fleeing the Dirty War.

It is through this structure that Hustvedt proves her point, for as you read testimony and accounts from all sides — Burden's co-conspirators, her children, a lover, art critics, various eccentric transients who came through Burden's warehouse, her best friend — you find yourself necessarily scouring for the «truth,» and in so doing, you engage the very prejudices and biases and Burden spent her life trying to bring to light.

As art critic for Willamette Week, Portland's highly regarded alternative weekly newspaper, Speer has strolled through galleries in and around the Oregon city for more than a decade.

Throughout the preceding decade, Clement Greenberg, also a former poet, had established a reputation as a leftist critic through his writings with The Partisan Review — a publication run by the John Reed Club, a New York City - centered organization affiliated with the American Communist Party — and his time as an art critic with The Nation.

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.

Douglas Crimp's new book Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City from the late 1960s through the 1970s.

«He shocked his contemporaries with loose brushstrokes and vibrant colours,» says art critic Alastair Sooke as he walks through galleries at Tate Britain, an institution he describes as «the storehouse of Turner's artistic legacy».

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.

In 2007, film critic Jonathan Romney described Starr's new silent film Theda: «In a 40 - minute black - and - white film Theda British artist Georgina Starr, best known for her series of works inspired by the 1965 thriller Bunny Lake is Missing, pays tribute to this stormiest of divas and undertakes an archeology of gestural art of the silent - era actress (Theda Bara), drawing on the styles of several other now forgotten grande - dames, such as Barbara La Marr and Maud Allan... the film is divided into three parts «prelude», «act» and «epilogue»... but «prelude» is the real coup: in a long single take, Starr runs through the codified expressive repertoire of the Theda - era performer with such precision that any ironic distance evaporate.

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

To me the current group show at Bill Hodges Gallery asks such questions as: Historically, how have African American artists had to navigate through an art world dominated by white artists, gallery owners and critics?

Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century.

The Virtues of Age — There's no substitute for actually having been there, as Holland Cotter underscores in his deep - dive review of the New Museum's 1993 show, discussing the art climate of that year with an intimacy and grasp available only to an art critic who had lived through the time as a professional.

Edited by Temporary Art Review founders Sarrita Hunn and James McAnally, To Make A Public offers a singular lens into broader eruptions in artists» publishing and artistic practice over the past five years as a primary document of our moment through the collected writings of artists, curators, activists and critics.

It offers creative individuals a non-commercial space within which to produce and exhibit their art, providing contact with the general public and with critics, as well as promoting their work through a bilingual catalog published after the exhibition, which is distributed nationally and internationally.

«Return to Graceland: Works From the»80s and»90s,» through January 20, 2018 There was a time when Howard Halle was best known as the Time Out New York art critic.

A triple translation, as art critic Michele Robecchi notes, through which the artist stages her own allegory of memory and time, making visible the redefinitions that take place when memories overlap.

His body of work unfolds through multiple disciplines: he worked as a curator, sculptor, painter, flamenco expert, performer, theatrical author, screenwriter, critic of art and literature, editor and essayist.

In this tradition the three dimensional artwork is seen as a means of three dimensionally «educating» the viewer in a realm inhabited by both the viewer and the artwork simultaneously through their common physical relationship to the room,» as noted by art critic Anders Olofsson.

However, just as the newness of Cubism was accepted and then canonized by Barr and the Museum of Modern Art, so the revolutionary abstraction of Abstract Expressionism was quickly codified and accepted — and elevated above Picasso and the School of Paris — through the efforts of the American critic Clement Greenberg.

«Reva Wolf, as editor, guided each student contributor through the demanding standards for writing, re-drafting and polishing that characterizes the professional research and writing practices of art critics, museum curators and art historians.»

Through fantastical, emotionally wrenching artwork — described by New York Times art critic Holland Cotter as «a cross between a children's book and a sexually explicit cartoon» — Kara Walker explores the many intersections of race, gender, and sexuality throughout history.

Metropolitan Museum of Art: «Stieglitz and His Artists: Matisse to O'Keeffe» (through Jan. 2) Alfred Stieglitz was a mountainous presence in the landscape of early 20th - century American Modernism, as a photographer, critic and art dealArt: «Stieglitz and His Artists: Matisse to O'Keeffe» (through Jan. 2) Alfred Stieglitz was a mountainous presence in the landscape of early 20th - century American Modernism, as a photographer, critic and art dealart dealer.

In this big square canvas composed of interwoven and monochrome protractor shapes, with its flatfooted reminiscence of Matisse's lyricism, we sense an artist thinking of himself - and being taught to think this way by his critics - as channeling the main historical current of his art through his own work.

The Decade May 24, 2014 — March 2, 2015 A return to the spirit of the 1990s through the sources and objects that inspired a decade, from the arrival of the internet as a mass medium to Nirvana's Smells Like Teen Spirit... Curator: Stéphanie Moisdon, art critic and independent curator Exhibition design based on an artistic project by Dominique Gonzalez - Foerster

Through multiple practices as a painter, critic and educator, Jeremy Gilbert - Rolfe has challenged contemporary ideas of aesthetics and purpose in art since the 1970s.