Sentences with phrase «aware of the other artists»

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 rivalOf 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 rivalof 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 rivalof them from the Slade and the Royal College of Art, knew each other, were aware of each other's work and were conscious rivalof Art, knew each other, were aware of each other's work and were conscious rivalof 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.
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