Stella has always been acutely
aware of other artists and art critics.
However once I got online more, I became
aware of other artists that were using the Internet to get their art out there for example, Grace Miceli.
Not exact matches
Suffice it to say that each
of these
artists was
aware of the
other, knew him, knew his work, knew they were both there.
Not only is Amanda Palmer known as an
artist who has gone to the mat to work out the up - close - and - personal contact with fans prescribed in this age
of community, but she also is eloquently
aware of this;
aware of the rarity
of her wildfire success in crowdfunding on Kickstarter; and as fascinated, herself, as many
others are with the character today
of loyalty - building networks.
I wasn't
aware of the art - world then or
of other artists.
Rauschenberg, who was always deeply engaged with
other artists, would have been well
aware not only
of the aesthetics
of Minimalism but also
of related developments, such as process art and Conceptualism, which had been incubating since at least 1962 and began to emerge in exhibitions and art journals in 1966 — 67.
Whitten: He became
aware of me through the painter Joe Overstreet, who had arranged a meeting with Allan and
other artists at his studio.
ArtsATL: Are there
other galleries that you are
aware of that have gotten rid
of a physical space but maintain an exhibition program and represent
artists?
Holsinger sees the event as a chance to make local
artists aware of just how many
others there are around them.
In 1993 it was still possible for
artists to not be instantly
aware of what each
other was up to, even in New York City.
This project, entitled Systems, will feature a number
of artists and public programs focusing on various types
of systems — systems
of economy, systems
of tradition, and systems
of oppression, among
others — which became so self - evident that we are no longer
aware of them.
Although I was
aware of and admired Kline, Motherwell, Marca - Relli, and
other New York School
artists, I didn't really have strong affinities with their work.
From the early 1960s, Natalia LL was working in Communist Poland but was very
aware of other radical women
artists: she was the co-founder
of the
artist - run PERMAFO Gallery in Wrocław, which regularly invited international
artists to exhibit in Poland, and from 1975, engaged in numerous feminist art exhibitions and symposia outside
of Poland.
Then in the mid to late nineties, back in the US along the West Coast,
other artists with alternative, experimental mind - sets, who were
aware of recent developments, were coming out with brilliant, refined hybrid styles, such as Augustine Kofie and El Mac.
In these new sculptures, as well as across Price's work, the
artist's careful attention to the minutiae
of physical appearance and presentation invites the viewer to become more
aware of the subconscious processes by which we recognise, interpret and respond to
other people, all the while fashioning our own social identities via outward presentation.
Of course the artists of this period, most of them from the Slade and the Royal College of Art, knew each other, were aware of each other's work and were conscious rival
Of course the
artists of this period, most of them from the Slade and the Royal College of Art, knew each other, were aware of each other's work and were conscious rival
of this period, most
of them from the Slade and the Royal College of Art, knew each other, were aware of each other's work and were conscious rival
of them from the Slade and the Royal College
of Art, knew each other, were aware of each other's work and were conscious rival
of Art, knew each
other, were
aware of each other's work and were conscious rival
of each
other's work and were conscious rivals.
Most
artists working at her professional level (with major museum shows, a full professorship, New York and Toronto gallery representation, and a stack
of prestigious awards and residencies) are
aware of how their background and artistic choices open some doors and close
others.
In
other works, Tyson questions the creation
of the artwork itself, positing it as something which can be randomly generated by systems, but simultaneously making us
aware that these systems are generated by the
artist.
Working in and with many leading arts institutions over the past two decades, the acclaimed
artist Teresita Fernandez is keenly
aware of how a lack
of access, dearth
of exposure, and limited opportunities inhibit Latinx
artists, arts leaders, and
other cultural practitioners.
Contrary to popular belief that Pollock was a solitary genius, the
artist — whom Life magazine posed as the «greatest living painter in the United States» in 1948 — was keenly
aware of what
other artists were doing and was influenced by those he befriended and worked with throughout his abbreviated career.