Sentences with phrase «as gallerists of»

Not exact matches

That's to say nothing of the effete bugaboo who insists on talking up Isabelle every time she visits the fish market, or the black gallerist with whom she briefly holds hands before he declares he'd rather not rush into things, or the handsome young cab driver who makes eyes at her as they sit listening to public radio in comfortable silence — or Isabelle's ex-husband, still in the picture.

Isabelle is busy fending off the thinly veiled advances of a gallerist (Bruno Podalydes), when suddenly a thin stranger (Paul Blain) with an incongruously, hilariously grave expression and a Jacques Brel horse mouth comes into her purview, and she stands to meet him on the dance floor as though they had a pre-appointed meeting, and they sway together in a moment of the ridiculous sublime, as James sings ``... I found a thrill to press my cheek to.»

But don't be mistaken — the film very much has Ford's steely and militant glamour, especially as it relates to Adams» character Susan, a gallerist and Los Angeles society type whose marriage is on the brink of collapse, and who interprets the manuscript of a violent novel by her first husband, Edward (Jake Gyllenhaal), as a metaphor for their own failed relationship.

The Gallerist could be put on display in a gallery as a work of art.

As important is keeping the prices high by continued visions of the gallerists understanding of quality art.

As a gallery owner, publisher and art business writer (not to mention the wife of an artist who has gone through every stage of becoming a professional), I've learned the rationales behind the decisions a gallerist makes when deciding which artists to represent.

Included are Dine's musings on his own work, which often takes the form of paintings of hearts and robes, as well as arguments against classifying him as a Pop artist and in - depth explanations of his dealings with various gallerists.

The show will feature important works by those artists — Georgia O'Keeffe, Marsden Hartley, Arthur Dove, and John Marin, among them — championed by the great photographer and gallerist Alfred Stieglitz, as well as many other notable figures of this period.

If there are lots of other artists doing the same thing as you, a gallerist isn't going to get excited about your work.

Though Kushner followed very few people on Instagram at the time, many were from the art world, including gallerist Gavin Brown, Gagosian Gallery director Sam Orlofsky, and others — as well as, of course, Alex Marshall.

Posing as gallerists at the ready to explain the work on view, the performers instead took on six different characters, each with a distinct social position, and articulated a variety of contradictory relationships to the works.

Then, just as now, the appearance of a few gallerists and curators acted like an electrical current running through the event.

There are only three days until START art fair opens its door and today we welcome artists and gallerists to the Saatchi Gallery as they install their work ahead of the inaugural edition of START, 26 - 29 June 2014.

«I wouldn't go so far as to say it's a pervasive theme,» curator Alex Glauber told Gallerist about his inspiration for the show, «but over the last year and a half, I've noticed the Rorschach image in a lot of contemporary work I've been seeing — works by Donald Moffett, Louise Despont, Blake Raynes.»

This exhibition of rarely - seen paintings by Konrad Lueg (1939 — 1996), also known as Düsseldorf - based gallerist Konrad Fischer, includes 18 paintings produced from 1963 to 1968, the five - year period during which the gallerist also worked as an artist.

Noted collector, advisor, and gallerist Dominique Lévy is considered a foremost authority on the global art market and is regarded as one of its most influential figures.

Paul Morris, longtime gallerist and supporter of Crumb's practice, writes an introduction that contextualizes this body of work and the artist's career as a whole.

Peter Blum has collaborated with a wide range of artists both as a gallerist and publisher since he began his career in 1971 at Galerie Beyeler in Basel, Switzerland.

As the crowds thickened I ran into gallerist Jane Cohan, whose gallery is just one of the many higher - end outfits exhibiting at the ADAA this year.

The answer to all of these questions, as adoring critics (and her demanding gallerists at Sprüth Magers and Tanya Bonakdar) can tell you, is «yes.»

She's from Chicago and people think of her as a Chicago - based gallerist — the primary artists on her roster were the Chicago Imagists, so she showed Christina Ramberg, Ray Yoshida, Jim Nutt, Gladys Nilsson, Roger Brown, and Ed Paschke — but when I went to work for her she had a space on Greene Street, where she showed contemporary art on the ground floor and outsider artists simultaneously in a basement gallery.

The exhibition Murakami by Murakami features not only his artworks, but also aspects of his activities as a collector, gallerist, cultural entrepreneur and activist.

Collectors, curators, gallerists and museum directors descended on the nation's largest art fair, as they do every year, for an infusion of art in all its translations, magnified in memory by poolside festivities that are joined for the most part by reading about them the next day.

Known by his nom de plume CPLY, he was a self - taught artist pushing the limits of art - world decorum, as well as a collector, gallerist and connector of some of the most important artists of the 20th century, in particular European Surrealists and Dadaists such as Max Ernst, Man Ray and Marcel Duchamp, and American Pop artists.

But that cult, and the ascendance of spectacle, may be the end of museums as we know them and has been the subject of countless conversations I've had over the past year with curators, artists, gallerists, and collectors, all of whom acknowledge a major shift under way.

If the artist has worked with the gallery before, gallerists will «factor in what progress has been made since their last show, such as whether it was sold to museums, or whether the artist has had institutional visibility (solo shows, inclusion in visible group shows), and if we have built up a following of people waiting to see new works.

They are the kind of paintings that made an impression on important New York curators, such as James Johnson Sweeny, and gallerists, including Betty Parsons, Sidney Janis, and Samuel Kootz in the late forties and early fifties.

Indeed, all galleries must be able to withstand losing their original big artists almost as a rite of passage; it proves a gallery's vision is bigger than one or two artists and runs deep in the gallerist.

As an artist as well as the director of this gallery (and of Artists Talk on Art in the past), I feel particularly sensitive to both the artist's reality & that of the gallerisAs an artist as well as the director of this gallery (and of Artists Talk on Art in the past), I feel particularly sensitive to both the artist's reality & that of the gallerisas well as the director of this gallery (and of Artists Talk on Art in the past), I feel particularly sensitive to both the artist's reality & that of the gallerisas the director of this gallery (and of Artists Talk on Art in the past), I feel particularly sensitive to both the artist's reality & that of the gallerist.

With recurring themes of life and mortality, Australian painter Erin Smith's exhibition at Amy Li Projects, The Right Place At The Right Time, marks the progress she's made as an artist since the last time she was shown by gallerist Amy Li, who says Smith has been focusing on creating backgrounds first, and then adding images on the foreground.

As a gallerist, she was one of the first to introduce key European artists such as Gerhard Richter, Joseph Beuys and Marcel Broodthaers to American audiences and has represented some of the biggest names in the business, including Anselm Kiefer, the sculptor Richard Deacon and the video artist and Oscar - winning film director Steve McQueeAs a gallerist, she was one of the first to introduce key European artists such as Gerhard Richter, Joseph Beuys and Marcel Broodthaers to American audiences and has represented some of the biggest names in the business, including Anselm Kiefer, the sculptor Richard Deacon and the video artist and Oscar - winning film director Steve McQueeas Gerhard Richter, Joseph Beuys and Marcel Broodthaers to American audiences and has represented some of the biggest names in the business, including Anselm Kiefer, the sculptor Richard Deacon and the video artist and Oscar - winning film director Steve McQueen.

In New York, just after the turn of the century, a small circle of photographic visionaries revolved around the magnetic figure of Alfred Stieglitz (1864 - 1946), whose influence as artist, patron and gallerist galvanised this tight - knit community.

«The luminosity and depth of his work stands up to any Old Master or 19th Century Master that we have ever seen, but with an added modernity — employing the use of innovative materials and collage to tie it all together,» said gallerist Laura Grenning, who arranged the show by selecting works from private collections as well as those on loan from Marlborough Gallery.

The massive expansion of the art market in recent decades has aroused much intrigue about how galleries operate, particularly as critics, artists and independent curators take the lead in opening their own spaces, enhancing the appeal of the gallerist's role.

Because of this, Multiplied is an ideal place to learn about multiples and how they are produced, as artists and gallerists are on hand to explain the finer points of the intaglio printmaking process or photo - gravure.

Students observe how individuals from a wide range of backgrounds and interests have built careers as creative professionals, gaining a nuanced understanding of a life in the arts — including learning how an artist's studio is run and the role of a gallerist in the production, exhibition, and sale of artworks.

As I walked through the Arsenale, one acquaintance I met, noting the amount of art featuring indigenous peoples, dismissed the French curator's show as colonialist — «terrible» was the blunter opinion of an American gallerist (there was no further elucidationAs I walked through the Arsenale, one acquaintance I met, noting the amount of art featuring indigenous peoples, dismissed the French curator's show as colonialist — «terrible» was the blunter opinion of an American gallerist (there was no further elucidationas colonialist — «terrible» was the blunter opinion of an American gallerist (there was no further elucidation).

Following our conversation with Edward Winkleman and Murat Orozobekov, the co-founders of Moving Image, we discussed with some of the participants about the relevance of the Moving Image art fair and the uniqueness of video as an artistic medium: with Paula Alzugaray (independent curator, São Paulo, Brazil) and Sabine Brunckhorst (collector, Hamburg, Germany) about their perspective on the fair from a curator's and a collector's perspective, and with gallerists Serra Pradhan (Marianne Boesky Gallery, New York, NY, USA), Catharine Clark (Catharine Clark Gallery, San Francisco, CA, USA), Barbara Polla (Galerie Analix Forever, Paris, France), Catlin Moore (Mark Moore Gallery, Culver City, CA, USA), Wagner Lungov (CENTRAL Galeria de Arte, São Paulo, Brazil), Nancy Atakan (5533, Istanbul, Turkey), Lise Li (Vanguard Gallery, Shanghai, China), Kelani Nichole (TRANSFER, Brooklyn, NY, USA), Asli Sumer -LRB-.

Run by two former art gallerists and based in a closet - sized shop in Manhattan's West Village, the three - year - old business works with a roster of artists, selling classics, such as Yves Klein's gold - leaf - filled glass tables, alongside commissions such as Gerrard's cutlery or the rococo cuckoo clock soon to launch from painter Kehinde Wiley.

In her first decade as a gallerist, Ms. Boesky launched and nurtured the careers of artists such as Sarah Sze, Lisa Yuskavage and Takashi Murakami, and has since built a diverse and dynamic roster of artists from four continents, including such giants as Pier Paolo Calzolari and Frank Stella.

Isn't the point of the gallerist paying the return shipping to incentivize them to make the sale??? As a young emerging artist, I can't afford to subsidize a gallery on this level.

Graduates give back through social service programs such as Studio In A School and have taken their place in the New York art world as writers and editors of art publications, gallerists, and curators.

Also seen the same day, down the block from Pace Gallery, in the show at Lennon - Weinberg Gallery, «H.C. Westermann: The Human Condition, Selected Works, 1961 - 1973,» some early drawings by H.C Westermann (1922 - 1981), done (as I overheard the gallerist explaining) when the artist was in the hospital being treated for testicular cancer — which he survived: his wife had brought him some crayons and paper, and he worked on a group of small drawings, some in the artist's characteristic graphic, cartoon - related style, some in a more abstract and less over-determined mode — after he recovered, these were packed away and never shown until now.

Together with solo presentations by seven other artists closely associated with Feature Inc. and a booth representing the recently launched non-profit Feature Hudson Foundation (FHF), For Your Infotainment honors a man remembered in The New York Times as «one of the most prescient, independent - minded and admired gallerists of his generation.»

Scott Alario in conversation with Matthew Leifheit in Vice http://www.vice.com/read/tonight-in-new-york-scott-alarios-what-we-conjure Goldschmied & Chiari in «Portrait of the Artist as a Young (Wo) Man» curated by Marcella Beccaria at the Castello di Rivoli, Turin, June 10 - September 21, 2014 Gallery featured in Gallerist NY http://galleristny.com/2014/03/next-up-on-the-lower-east-side-kristen-lorello-gallery/ Scott Alario in «Americana: Contemporary American Photography by Graduates of Leading U.S. Academies,» International Photography Festival Israel # 3, hosted by Artlink, Carmel Winery, Rishon LeZion, Israel, April 5 - 9, 2014 Goldschmied & Chiari solo exhibition «La démocratie est illusion» at Passerelle Centre d'art contemporaine, Brest, France, through May 3, http://www.cac-passerelle.com/exposition/goldschmied-chiari

The Belgian artist, Michaël Borremans, never takes commissions but when his compatriot, Alex Vervoordt, asked to him to paint his race horse «Raio», he accepted as «he had never painted a horse before», I'm told by one of the gallerists of Zeno X Gallery.

In the Eighties, NYC gallery Metro Pictures was a notable pioneer, but even major female gallerists of the era such as Mary Boone and Marian Goodman did not show art by women until much later.

During her more than eleven years as a gallerist, Virginia Dwan mounted 134 shows, introducing viewers in Los Angeles and New York to the most challenging art practices of the time.

A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler, and Monika Sprüth showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel, and others.

Their approach has likely been spurred by a deep engagement with the work of Tino Sehgal, whose contribution to the show, This is Competition (2004), involves two of his gallerists speaking alternate words, as they compete to sell one of the artist's works.