Sentences with phrase «as commercial artists for»

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

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.

Over the next several years Okada spent long periods in Kyoto and Paris, funded by Fulbright and Guggenheim Fellowships, interspersed with periods of working as a commercial artist for the Boeing company in Seattle.

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 unmade.

As Elisa awakens from her dream, she goes about her routine — making hard - boiled eggs, taking a bath, making sandwiches and watching TV with Giles who is a gay commercial artist and has just lost his job for reasons unspecified, but we can guess.

«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.

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.

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.

Under Creative Commons, the artist can specify the type of use that is allowed, and very often this music is royalty free as long as the musician is given credit and it is not used for commercial purposes.

Of course, if receiving coin for your efforts is too commercial for you as an artist, then once published you have achieved your destiny.

Thanks a lot for sharing a commercial site that takes business away from hard working artists such as myself.

The title for the exhibition, Lost & Found, refers to Joe's creative process — finding long - lost images and reinventing them as often politically charged artworks — and his reinvention from the commercial world of work to finding his way as an 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.

Perhaps fitting for its era, the 60s art world awakened to unconventional materials - artists experimented with industrial and commercial materials such as lead, Plexiglas, synthetic fabrics and automotive paints.

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.

During the 1950's she supported herself as a commercial artist, designing brochures for art galleries.

Acting as a commissioning agency as well as a production company, Performa provides a support system for its artists, from initial proposal through opening night and touring, that far surpasses the customary assistance given by its nonprofit counterparts and those of the commercial sector alike.

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).

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 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.

As commercial real estate becomes increasingly scarce, artists often lose their leases due to rent increases or as a result of developers seeking a more lucrative use for the spacAs commercial real estate becomes increasingly scarce, artists often lose their leases due to rent increases or as a result of developers seeking a more lucrative use for the spacas a result of developers seeking a more lucrative use for the space.

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.

The works of Patrick Nichols, official photographer for the Dream Warriors, European tour, move between commercial and conceptual, as his images continually interweave hip hop artists into a variety of settings.

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 film considers how individuals — the artist is one of its protagonists — negotiate complicated feelings of love and hate for commercial objects and how features such as touch and 3D resonate directly with the user's emotions and imagination.

He worked as a Visual Effects Artist on projects such as Pirates of the Caribbean 3 and Super Bowl Commercials for Nike, Visa, Pepsi and many others before deciding to move to San Francisco to become a painter.

However, de Kooning was able to find a like - minded group of artists in New York who encouraged him to paint for himself, to get himself as far away as possible from commercial art.

He has worked professionally as a commercial CGI artist for the past 16 years in television and game production.

While some artists, such as Mel Bochner, rejected painting and the sculptural object outright, calling for a «dematerialization» of the art object altogether, Sonnier and Merz collapsed the distinctions between painting and sculpture, employing commercial or industrial materials to tie their work more closely to the life of the street.

In a paper she authored earlier this year on the rise of commercial representation for female artists born in the 1910s through the 1940s, she argues that their work feeds collectors» appetite for something «new,» minus the risk associated with some recent art school grad billed as the next big thing.

Hugh, To answer your questions — if a gallery can't sell your work A LOT better than you can, and if you as an artist don't mind dealing with the commercial side of your business, then there is no reason for you to be with the gallery.

The PCP, as it is known, calls for fair wages for artists, commercial rent control, and community land trusts for artist housing.

Playing on the Barclays Center's «Oculus» screen through March 5 as part of the Public Art Fund's «Commercial Break» series, Meriem Bennani's 30 - second video piece «Your Year by Fardaous Funjab,» features an «advertisement» for the artist's fictional hijab design.

Of course quality was the first selection criterion to bring these 36 artists from different countries together, but for curator Janice Whittle there was another important reason to select the artists she liked to present: she wanted to give the floor to artists who have not had many chances over the years to show their work because of the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and went.

The arbitrary reality of the art market is explicated by its accelerated tempermentality; the practices of speculative collectors - in search of their own «golden eggs,» - beget predictable patterns of frenzy, overvaluation and subsequent commercial rejection, as well as perpetually unstable financial situations for artists.

Viewed as an alternative to the diminishing commercial gallery scene, in hindsight it seemed like they were fueled by the overarching need for artists to show their art and talk about it, with or without a functioning art market.

Follow contemporary commercial galleries to discover emerging artists and art fairs for key events in the arts calendar, from major fairs like Frieze to smaller events such as the London Original Print Fair.

As an artist, he transforms public commercial space into a heartfelt exchange between intimates, captured here for individuals in his smaller, handpainted «daily metaltations.»

There are artists internationally creating public art for cities as opposed to their gallery representations, but I would be curious to know what kind of presence there is of commercial galleries commissioning this type of work.

The Suburban compound — a duo of cinderblock huts outside the Grabner - Killam residence — could be understood as an anti-Chelsea, a space by and for artists that attempts to circumvent commercial and institutional means of distributing art.

Artists of the post — World War II era who drew inspiration from popular culture considered printed words as a legitimate subject for a work of art in the same way that they appropriated comic - strip heroes and commercial products.

And to top it off, Gioni also serves as artistic director for the Fondazione Nicola Trussardi in Milan; this April, he and Vincenzo de Bellis presented a site - specific work by British artist Sarah Lucas in an underground former commercial space.

As a commercial artist, Rosenquist paints billboards in Manhattan and Brooklyn, including signs in Times Square for the Astor Theatre, Victoria Theater, and Morosco Theatre, all located at Broadway and Forty - fifth Street.

Started in 2016 by entrepreneurs and collectors Deborah and Andy Rappaport and comprised of multiple rehabbed warehouses, the compound rents out commercial gallery spaces, as well as studio and fabrication space for artists.