Sentences with phrase «by all of the artists mentioned»

I am inspired by all of the artists mentioned above, and most importantly by Rachel who encouraged me to think outside of who I was as an artist.

AL: Works by both of the artists you mention here have an incredible presence of the maker and the material.

Works by both of the artists you mention here have an incredible presence of the maker and the material.

In addition to works by each of the artists mentioned, a drawing by the highly acclaimed George Stillman will be for sale.

Not exact matches

This Week's DVD Releases by Kam Williams Headline: Top Ten DVD List for August 2nd Trust Rio Con Artist A Fistful of Dollars [Blu - Ray] Minnesota Twins 1991 World Series: Collector's Edition Soul Surfer The Magnificent Seven [Blu - Ray] Ed Sullivan Presents: Rock «N» Roll Revolution Pie in the Sky: Series Five Tracy Morgan: Black and Blue Honorable Mention For a Few Dollars More [Blu - Ray] Everwood: The Complete Fourth Season Eastbound & Down: The Complete Second Season Mystery Science Theater 3000: Volume XXI Garrows Law: Series Two The Music Never Stopped Magic in Minnesota: Remembering the 1991 World Series The Perfect Game Streetwalkin» Nicki Minaj: Romans Revenge

Mr. Loescher, a teacher in SOTA, mentioned one new class in music theory and production, where students learn the basics of producing music by working in groups where students take on the roles of producer, engineer, writer, marketing manager, graphic artist, and others.

Not mentioning artists (and I count the writers among them) very often have to start their careers by working for nothing and promote themselves, long before they gain the recognition and earn the money he speaks of

Naturally, we do our best to ensure that all information entered by the professionals on their profiles is accurate, and will often verify our professionals» portfolios by searching books» «acknowledgements» sections for mentions of their editors and cover artists.

In more recent hints, artist Kano Miyamoto posted on her Twitter account that some of her books would soon be published online by Viz this past Thursday (though she was not one of the artists mentioned in this opening launch).

La Chola Cusco Restaurant has a legendary story in the middle of the twentieth century worked here a cookhouse with the same name, famous throughout the city for being a meeting place for renowned artists, poets, writers, politicians and intellectuals.Among the most famous visitors can not fail to mention to Pablo Neruda, who, inspired by the majesty of Cuzco and in love with the beauty of the house during his stay he composed much of his work referred to Cusco and Machu Picchu.Su culinary tradition has been restored and recovered giving new life to the restaurant offers a menu with dishes from the new Peruvian and international cuisine, the wine cellar built inside an Inca wall helps maintain the quality of a rich selection of wines with different characteristics.

With that in mind, I do find some of the reporting on VIP Art Fair to be amusing because many of the features that various writers are mentioning as being unique to VIP Art Fair have been utilized by artist websites for years.

* Lassnig mentions Women Artist Filmmakers in the October 2014 issue of Artforum in a 2012 interview by Hans Ulrich Obrist.

I also believe that the traditions of abstract painting (such as those developed by the three artists I mention above) are particularly suited to the task.

IN 1988 — Certificate of Excellence, New York ’88 International Art Competition, Art Horizons Exhibition, Larchmont, NY 1986 — Certificate of Excellence, North Coast Collage Society Exhibition, Hudson, OH 1986 — Honorable Mention, Nepenthe Mundi Society Exhibition, Kansas City, MO 1986 — Certificate of Excellence, Metro Art International Exhibition, Greene Street Gallery, Scarsdale, NY 1986 — Favorable Review by art historian & New York Times critic Mr. Hilton Kramer, Ultrasound, R.H. Love Gallery, Chicago, IL 1985 — New Jersey Chapter Award, 2nd Place, American Artists Professional League Exhibition New York, NY 1985 — Personal invitation by internationally known modern master, Kenneth Nolan, to work on the installation of his show 1984 — MWS Letters Award, Midwest Watercolor Society, Neville Public Museum, Green Bay, WI 1983 — Internorth Foundation Award, Midwest Watercolor Society, Davenport Art Gallery, Davenport, IA 1982 — Daniel Smith Award, Midwest Watercolor Society, West Bend Museum of Art, West Bend, WI

Thinking about abstraction's continued relevance may require me to at least mention Zombie Formalism, («Formalism because this art involves a straightforward, reductive, essentialist method of making a painting and Zombie because it brings back to life the discarded aesthetics of Clement Greenberg»), if only to suggest that the term, coined by artist - critic Walter Robinson, quoted in brackets above, seems to refer more to the market than to the art and may appear more pertinent in the USA than in the UK where alternative modernisms have sometimes held more sway than the version associated with Greenberg and Fried.

This page of energetic sketches by Davie is as noteworthy for what it doesn't contain as for what it does: no descriptions of the work, no mention of the artist's past accomplishments, no attempts at interpretation.

I had mentioned in my response to Randy Tibbits's screed regarding too few Houston or Texas artists at the Museum of Fine Arts, Houston that I thought the museum's American art galleries had bigger issues to address, «starting with too few works by artists of color and / or works addressing race, a lack of work by Native Americans, relatively little work reflecting urban social issues and labor unrest, etc..»

With particular strengths in colonial portraiture, the Hudson River School, American Impressionism, and the Ash Can School, also not to mention the important mural series The Arts of Life in America by Thomas Hart Benton, the Museum relies heavily on its permanent collection for exhibitions and programming, yet also displays a significant number of borrowed shows and works by emerging artists.

One piece of advice from the book that really resonated with me came from Marshall Arisman (mentioned by Margaret earlier), who offered the following advice to an artist just starting out:

Juror, Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art, Indianapolis Museum of Art, Indianapolis, IN, mentions in her essay that, «Most of the works by Midwest artists chosen... challenge traditional definitions of painting or sculpture and instead explore a hybrid state that incorporates aspects of both...» We hope you will pick - up a copy and let us know what you think!

Golden speaks of Ligon's efforts in encouraging a new generation of artists, mentioning the behind - the - scenes role he played in organizing Freestyle, an exhibition of emerging talent mounted by the Studio Museum in 2001.

He then mentioned this to Sheena Wagstaff, who was at Tate Britain then, and she asked me to do a show there, which was seen by a charitable organisation called 2041 — the year that Antarctica loses its independence from the rest of the world and comes up for grabs — and they invited me to go as an artist.

Mentioned in the recent article «Rising Rents Leave New York Artists Out in the Cold» by Cara Buckley (The New York Times, March 9, 2014), Richard and other working artists strive to continue their work while finding affordable studios in the ever - changing landscape of New YorArtists Out in the Cold» by Cara Buckley (The New York Times, March 9, 2014), Richard and other working artists strive to continue their work while finding affordable studios in the ever - changing landscape of New Yorartists strive to continue their work while finding affordable studios in the ever - changing landscape of New York City.

An honorable mention for national participation went to Brazil, which featured a minimal installation of stones and welded grating by the artist Cinthia Marcelle.

As mentioned above, the artist was also influenced by Jackson Pollock, Lucio Fontana, Robert Rauschenberg, and Andy Warhol, but also by the artistic movements of Pop Art, Fluxus, Abstract Expressionism, and even Dada.

The Biennial also includes ceramic works by Sterling Ruby, John Mason, Shio Kusaka, and Pam Lins (in collaboration with Amy Sillman), and while the examples here are colorful and lustrously glazed, they serve the same conceptual purpose as the works mentioned above within the larger conversation the of Biennale — that is, they highlight the action of the artist's hand as works requiring dexterous skill in a world where such displays of manual proficiency are fewer and farther between than ever before.

The upcoming exhibition America's Cool Modernism: O'Keeffe to Hopper at the Ashmolean Museum tends to shed a new light on a mentioned period by questioning how the artists articulated modern life with all of its contradictions.

I first saw drawing by Wilson in a group show at P.S. 1, where writers often mentioned her in the same breath as Amy Cutler, another artist who works on paper with plenty of white space, spare outlines, and a cast of young women in allusively rural settings.

Generic Jungle, Russian artist Olga Fedorova's first solo show at Annka Kultys Gallery, is mentioned by dreamideamachine ART VIEW in their international round - up of art exhibitions to see this November.

The exhibition of peculiar title, I followed you to the sun (inspired by the utopian novel Planet Magnon by German author Leif Randt), examines the mentioned topics through the works of eleven international artists.

2018 will offer a variety of exhibitions to cater for everyone's taste in art from spending time with modern masters such as a year in the life of Picasso, Monet's relationship with architecture, drawings by Klimt and Schiele, through classical artists Ribera and Murillo to contemporary greats like Tacita Dean and Joan Jonas not to mention Frida Kahlo's iconic wardrobe.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 19By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

During her artist talk last month, Dayna Thacker piqued my curiosity when she mentioned that the imagery of her collage titled Implied Agreement by Tenant (Higher Still) was in part inspired...

An honourable mention on the film front should also go to the Swiss Pavilion, which had a fascinating work by duo Teresa Hubbard and Alexander Birchler, imagining the life of little - known artist Flora Mayo, a friend of Giacometti.

(FT) Of Algorithms and Architecture — Esteemed artist Julie Mehrehtu, whose work is currently in solo shows at Marian Goodman Gallery in New York and White Cube in London (not to mention highly coveted by collectors worldwide) shares 500 words with Artforum about her artistic practice and mark - making process.

The works of Weiner and West mentioned above demonstrate Kagge's aim, when the opportunity arises, to acquire important works by artistic pioneers that are of interest to the key artists in the collection and that can contextualise their artistic concerns.

Tuttle may not predate Johns, to mention a living artist relegated by ants to the sands of time.

Angela Bulloch is always mentioned as an important member of the YBAs, but the shocking effect deployed by most of the artists is not something that characterizes Bulloch's work, which has developed to become a kind of art that defies genre.

His place in the chronicle of the era is guaranteed by his inclusion in the collections of the Heckscher, Smithsonian, San Francisco Museum of Modern Art and NYU's Grey Art Gallery, and he receives his due mention in Marika Herskovic's reliable The New York School Abstract Expressionists: Artists Choice by Artists.

And, in general, Davidoff is spending a ton of money trying to get people like me and The New York Times to write about its arts initiatives, and I guess it's working because here's a story in the Times that mentions that Davidoff is «selling humidor boxes designed by the French artist Lison de Caunes, at 19,500 euros apiece» at Art Basel Hong Kong this week, and quotes a Davidoff executive at a lunch at Art Basel Miami Beach saying some mindless PR nonsense like «Art is part of corporate social responsibility» — and here I am writing this thing about Davidoff where I mention Davidoff a dozen or so times.

The exhibition starts with the oldest works, including Dosso Dossi's Psiche abbandonata da Amore (1525) and Antonio Carneo's Aracne tesse la tela (better known as L'Indovina, c. 1660), presented in dialogue with an assortment of books on «magic» from the same period, and ends with works by the most recent generations of contemporary artists — from Christian Marclay to Grazia Toderi, from Markus Schinwald to Clare Strand, Elina Brotherus, Jeppe Hein, Beate Gütschow and Hans Op de Beeck — passing through masters like Gustav Klimt, Giorgio de Chirico, Fernand Léger, Edward Weston, Kurt Schwitters, Yves Klein, Arnulf Reiner, Georg Baselitz, Gerhard Richter, Peter Blake, Christo, Günter Brus, Mimmo Jodice, Gilberto Zorio, Giulio Paolini, Richard Long, Candida Höfer, Giuseppe Penone, Fischli and Weiss and Shirin Neshat, to mention just a few.

An artist mentioned this new space to me during a studio visit at the beginning of the year, and I was immediately intrigued because it is jointly run by artists Alistair McKinven and Peter Doig with curator Parinaz Mogadassi.

More interesting were the special commissions by Lawrence Weiner, Andrea Bowers, Camilo Restrepo, and Yukimasa Ida among others not to mention the presence of African and African American artists like Yinka Shonibare and Rashid Johnsonson respectively.

Primarily focused on Italian Renaissance art, the permanent collection of the Accademia includes a number of masterpieces by artists such as Hans Memling, Hieronymus Bosch, Piero della Francesca, Andrea Mantegna, Tintoretto, Titian, Veronese, Alessandro Longhi, Lorenzo Lotto, Giovanni Bellini, Giambattista Tiepolo, and Canaletto; as well as the already mentioned Vitruvian man by Leonardo and the famous Tempest by Giorgione.

As a result, Hamptons Art Hub is awarding Artist Winners and Honorable Mentions selected by each judge instead of one winner per section.

Selected as one of twenty outstanding women artists of Tennessee, Juried by Beth Wilson, Director of The National Museum of Women in the Arts in Washington, DC 1997 Sculpture Garden, Chattanooga, TN 1997 48th Mid-States Art Competition, Evansville Museum of Arts and Sciences, Two Museum Purchase Awards (Nancy Hoffman, Juror) Evansville, IN 1995 Artstravaganza, 1995, Hunter Museum of Art, Juried Art Exhibiti, Chattanooga, TN 1995 Bell South Exhibition of Collection, (four pieces purchased for the corporate collection), Bell South, Nashville, TN 1995 Tennessee Crafts Showcase, Tennessee State Museum, Nashville, TN 1995 The Self - Portrait: From Carrots to Canines, Cheekwood Museum of Art, (curated by Marilyn Murphy), Nashville, TN 1995 Animate / Inanimate, Tennessee Arts Commission Gallery, Nashville, TN 1995 33rd Annual Mid-States Craft Exhibition, Evansville Museum of Art and Science, Evansville, IN 1995 From the Mountains to the Mississippi, Cheekwood Museum of Art, TN 1995 Exhibit sponsored by the National Museum for Women in the Arts. 1995 Water Tower Annual, Water Tower Museum, Louisville, KY 1992 New Works Series, Capitol Arts Center, Bowling Green, KY 1991 44th Annual Mid-States Art Exhibition, Evansville Museum of Arts and Science, Evansville, IN (Bud Harris, Juror) 1991 Mid-Cumberland Art Exhibition, Hendersonville Arts Council (Special Mention), Hendersonville, TN

Presented alongside the original participants of «The Responsive Eye» are a large number of contemporary artists not included in that seminal exhibition, but inspired by it and its alumni mentioned above.

An important flashpoint in the art historical canon of the 20th century, Post-Minimalism got its first mention by noted art historian Robert Pincus - Witten in 1971, when American artists began reacting to the Minimalist tendencies that had dominated the contemporary - art conversation of the»60s.

The rules and risks and possibilities mentioned by Frankenthaler were meant by the artist in reference to her art, to the traditions and conventions that are acknowledged or altered or discarded by it, to the unknown territory it opens before us and explores, to the deep significance of its creativity.

And as the speech dragged on, some wondered whether he would remember to mention the patron who made it possible, but then he ended his speech by thanking Damien Hirst, whom he called one of the greatest artists of all time.