Sentences with phrase «as generations of younger artists»

His work influenced his peers as well as generations of younger artists.

The façade of Abstract Expressionism burst and fragmented as a generation of younger artists continued to push the medium in myriad directions.

Not exact matches

Lucas, an artist and lifelong model builder, is without peer as a compleat designer of films among the younger generation of American directors.

They also helped the next generation of artists — college students who served as instructors and mentors to young people — develop skills in teaching and in engaging audiences.

She placed younger artists, including Jones, Shinique Smith, and Angel Otero, in dialogue with members of the older generation, such as Felrath Hines, Alma Thomas, and Romare Bearden, who were producing seminal works in the 1960s.

Gorvy is recognized as an expert and passionate advocate of the work of Francis Bacon, Jean - Michel Basquiat, Lucian Freud, Alberto Giacometti, Willem de Kooning, Pablo Picasso, Mark Rothko, Cy Twombly, and Andy Warhol, as well as a younger generation of artists such as Martin Kippenberger, Jeff Koons and Richard Prince.

This will include those from older generations of artists, including Malick Sidibé and Carrie Mae Weems, to those by more contemporary artists, such as Deana Lawson, Zanele Muholi, and LaToya Ruby Frazier, who are part of Thomas's generation or younger, and may in turn find inspiration in Thomas's own practice.

Younger than this generation, all of whom were born in the early 1930s, and were undoubtedly affected by the horrors of World War II, Farrell shares something with the reductive impulses that are central to Minimalist artists such as Robert Ryman, Brice Marden and, to a lesser degree the Radical Painting of Marcia Hafif.

Although Emin first rose to prominence as part of the so - called generation of Young British Artists (YBA), the highly autobiographical nature of her work set it apart from the general artistic trends of the 1980s and 1990s.

As figurative painting made a comeback in the late»80s and»90s, a younger generation of artists began to see Katz with new appreciation.

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.

With a career extended across more than half a century, Stella both holds an important place in the history of American art and maintains contemporary relevance as his work continues to influence younger generations of artists.

In the meantime however, not only the art market — one of her early works was recently sold as the most expensive work ever by a woman artist — but also and above all a young generation of artists have rediscovered Joan Mitchell and her art.

Citing the work's unique blend of urgency and timelessness, as well as its growing impact on younger generations of artists, Obrist dubs Sturtevant «one of the most important artists of the 21st century.»

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.

Saatchi's taste for fast art — rapidly clocked, swiftly absorbed, abruptly administering whatever one - two punch it has — is ideal for the hyper - quick generation, for the time - starved traveller, for a quick check of the briefly new at home and abroad, especially if you are sizing up the market as a young artist yourself.

The exhibition brings together a broad spectrum of leading artists, prompting thematic conversations across generations, between those who rose to prominence during the closing decades of the last century and younger artists who have found their voice in today's world, a place of incalculably more images, where distinct movements have given way to heterogeneity and the availability of and reliance on technology is taken as given.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

As a tutor at Goldsmiths College from 1974 - 88 and 1994 - 2000, he had a significant influence on two generations of young British artists.

They are joined by established and internationally - recognized artists, including Guillermo Kuitca, Richard Long, Malcolm Morley, Evan Penny, William Wegman and Not Vital, as well as a younger generation of artists like Bertozzi & Casoni, Wim Delvoye, Kim Dingle, Charles LeDray, Tom Sachs, Jan Worst and Liu Ye.

The organizer, the American painter and art dealer William Copley, conceived of it as an intermedia and intergenerational publication, presenting works by an impressive array of artists, both well - known and emerging, including the Dada and Surrealist luminaries Marcel Duchamp, Man Ray, and Meret Oppenheim; Pop artists Richard Hamilton and Roy Lichtenstein; composers Terry Riley and La Monte Young; and an up - and - coming generation of conceptual and post-studio artists represented by Joseph Kosuth and Bruce Nauman, among others.

Today, an entire generation of younger artists regard her work as an important point of reference.

An outlier among the well - known generation of young artists who emerged in London in the 1990s, Landy shares their wry attitude towards the marketplace, although his works have never celebrated their status as commodity - objects or luxury goods.

Yet, to this day, she also retains her status as an artist extraordinaire, inspiring a young generation of artists in spite of — or precisely because of — the hermetic character of her work.

Innovation and potential are not merely the preserve of the younger generation — as these artists are proving

In the context of the exhibition ``... and yet one more world,» presented by Kunsthaus Hamburg, the oeuvre of the seminal German Conceptual artist Hanne Darboven (1941 — 2009) serves as a starting point for an exploration of its present - day impact and relevance from the perspective of a younger generation of international artists.

«Without a doubt, what's driving the high prices in recent years — as with many renaissance markets for certain artists — is the inspiration she's providing to a younger generation,» says Francis Outred, the head of postwar and contemporary art for Christie's Europe.

As of late, a younger generation of artists has started to take notice of his work, and the hip artist - run space Know More Games in Brooklyn has been actively promoting him.

Their extravagantly installed exhibitions, the artists» free - wheeling individual approaches, and their varied and compelling work have all had a wide - ranging and profound influence on several generations of their students and on many younger artists since then, including such well - known figures as Chris Ware (SAIC 1991 — 93), Sue Williams, Gary Panter, and Amy Sillman — as has been documented in the recent film Hairy Who & the Chicago Imagists.

Sarah Lucas rose to fame in the early 1990s as a key figure in a generation of «Young British Artists».

«We are cultivating the younger generation of artists through MACAAL LAB, which works with schools and universities, as well as offering three - month residencies to African artists.

We've had a lot of younger artists through and people do know him, they have been students of Gilliam, but it's also important for the younger generations to see these works especially as abstract painting has entered the center of the conversation again.

Given his spotlight - stealing video piece Re'Search Wait»S at the New Museum's 2009 inaugural «Younger Than Jesus» Triennial and his widespread critical acceptance as one of the most important artists of his generation, Ryan Trecartin seems to be a prudent choice for co-curating this year's Triennial «Surround Audience» alongside the Museum's in - house curator Lauren Cornell.

oung London 2013 is the third in V22's series of annual exhibitions which present a snapshot of emerging cultural and artistic attitudes and trends in London as perceived by a new generation of young artists.

His students and successors — such as Jo Ann Callis, Judy Fiskin, and James Welling — have gone on to teach and influence a younger generation of artists, including Amy Adler, Anne Collier, and Florian Maier - Aichen among many others.

In this video interview with Stuart Krimko, Director of David Kordansky Gallery, Los Angeles, we learn about Gilliam's unique brush-less technique, his innovations in treating the canvas as the principal material and his influence on a young generation of artists (abstract and not).

At the same time, just as importantly, there is a new generation of dynamic young dealers who are very active in post-war Italian art — doing a lot of research and promoting artists with catalogs, museum shows and major highly focused art - fair booths.

EW: There will always be good artists of a younger generation, as Vicky Usle who was in my Anniversary Show «Silver Lining» recently, or Willa Schwabsky, the very young daughter of critic Barry Schwabsky and artist Carol Szymanski, whom I showed for many years.

Her life and work inspired many artists of younger generations such as Tracy Emin or Robert Gober.

«What was revealing to me as a young curator was the schism that suddenly seemed to exist between my generation, of which Thelma was a definite leading light, and the generation of cosmopolitan, sophisticated, and accomplished artists who had never been properly foregrounded within American art history.

As an important figure in the second generation of Southern California ceramicists to deny the boundaries of traditional crafts, Shire has led the way for a surge of interest in ceramics among younger contemporary artists.

She was one of 16 participants in Damien Hirst's 1988 landmark exhibition, «Freeze,» a show that helped define a generation of London - based artists that would become known as YBAs (Young British Arartists that would become known as YBAs (Young British ArtistsArtists).

The group exhibition Speak, running concurrently at the Serpentine Sackler Gallery, proposes Latham as an «open toolbox» for younger generations of artists whose diverse practices share affinities with Latham's ideas and world view, revealing how they continue to resonate today.

The Gardens is mainly working with the younger generation of artists but also organizes cross-generational projects as well as programs concerts and screenings in the premises of Vilnius planetarium where it is originally located.

Nowadays, Alex is still very active as an author [8] and plays the role of a conceptual guiding star to many younger generation artists such as Elizabeth Peyton and Julian Opie.

Turning 90 this year, the American artist Alex Katz is considered as one of the most inspirational artists for the new and emerging younger generation of authors.

Even as recent years have seen a return to a focus on craft and the object and, sometimes, beauty, it seems that the ultimate triumph of Conceptualism has come in the form of younger generations who embrace the artist's role as that of universal creator.

Influential on other artists after Morris Louis and Kenneth Noland first saw her work in the early 1950s, since 2000 her art has inspired a new generation of younger painters such as Carrie Moyer, Jackie Saccaccio, and Mary Weatherford.

A key figure in the first generation of British conceptual artists, he was a professor at Goldsmith's College, where he trained many of the YBA (Young British Artists), such as Damien Hirst and Garartists, he was a professor at Goldsmith's College, where he trained many of the YBA (Young British Artists), such as Damien Hirst and GarArtists), such as Damien Hirst and Gary Hume.

The viewer is brought to consider the time and process, not only of the labor itself, but also of the progressive patterns of thought, as a new sensibility towards materiality and aesthetics emerges in a young generation of promising artists.