Sentences with phrase «by other artists of his generation»

Surprise and humor often distinguish his art from a more severe and programmatic approach taken by other artists of his generation.

Not exact matches

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

As it currently stands, it will jeopardise the future success of our creative industries by significantly reducing opportunities for the next generation of musicians, technicians, designers, artists, actors and all the other vital roles in the industry.

It's a chance to see works by three generations of the famed Wyeth family of artists — N.C., Andrew and Jamie — as well as others.

While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities.

Yoshitomo Nara and the Tokyo Pop art movement reflect the experiences of a generation of artists who grew up during the post-World War II economic boom in Japan that was characterized by, among other things, an influx of popular culture from the West, including the animation of Warner Bros and Walt Disney.

At 19:30 the curator Ofir Dor will offer a final tour through the exhibition with the focus on how the displayed works of different generations of Israeli artists are interwoven with each other in a complex manner by the theme «body».

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.

The selling exhibition features 26 works by three generations of critically recognized contemporary artists, including Jean Michel - Basquiat (1960 - 1988), Nina Chanel Abney, Derrick Adams, Sanford Biggers, Leonardo Drew, Theaster Gates, David Hammons, Rashid Johnson, Adam Pendleton, Kara Walker, Carrie Mae Weems, Jack Whitten, and Fred Wilson, among others.

Some present recent work by living artists spanning several generations; others showcase fascinating historical material of varying vintages.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

Asserting presence may be a given for many, but for Binion, and other African American artists of his generation, the artist's presence and their experience was often defined by absence.

In this installment of our interview focused on non-objective abstraction, a visual language chosen by Alma Thomas, Beauford Delaney, Charles, Alston, Sam Gilliam, Harold Cousins and other African American abstract artists of the so - called «first generation.»

2005 The Last Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for Contemporary Art, Long Island City, New York, USA The Disasters of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art of Aggression: Iraqi Stories and Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals Contemporary Arts Center, Buffalo, New York, USA 150 artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner Contemporary Art, Washington, USA 2001 How is everything?

Its other prongs include an artist residency at her home in Sonoma, California, for living artists in her collection, as well as scholars and curators whose work extends the canon and relates to the artists in her collection; sitting on the boards of museums like the Art Institute of Chicago; publishing critical scholarship, beginning with the 2016 book Four Generations: The Joyner Giuffrida Collection of Abstract Art; and collecting and gifting major works by black artists to institutions.

LeWitt, like no other artist of his generation, has always maintained the importance of the concept or idea and, apart from his original works on paper, the work is executed by others to clear and strict instructions.

«Paint, chairs, food, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand other things that will be discovered by the present generation of artists.»

Significant exhibitions include: Andy Warhol's Campbell's Soup Boxes in December 1986, just weeks before the artist's untimely death; She: Works by Richard Prince and Wallace Berman, brought together, for the first time, two generations of leading artists from different coasts; Bruce Conner: Work from the 1970s, which inspired the artist's first solo retrospective in Europe at the Kunsthalle Wien and Kunsthalle Zurich (2010); other shows of important New York - based artists have included new works by Christopher Wool, Richard Tuttle, Mark Tansey, Kenny Scharf, and Keith Haring.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human legs.

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.»

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the socalled Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

Robert Ryman and Ellsworth Kelly were both working steadily, granted, but so distinctively as to be inimitable by younger artists — not that Heilmann seems to have ever resorted to simple mimicry, despite the frequency with which other artists of her generation have used it as a tool.

This period served to establish the artist's reputation in the United States, where he was crowned by none other than Alfred Barr of the Museum of Modern Art as the «most versatile, learned, and courageous» of the younger generation of Cuban modern artists.

The exhibition will feature work by three generations of artists including Terry Adkins, Papo Colo, Jean - Ulrick Désert, Theaster Gates, Sherman Fleming, Trenton Doyle Hancock, Maren Hassinger, Wayne Hodge, Satch Hoyt, Shaun El C. Leonardo, Kalup Linzy, Dave McKenzie, Senga Nengudi, Lorraine O'Grady, Clifford Owens, Tameka Norris, Benjamin Patterson, Adrian Piper, William Pope.L, Rammellzee, Sur Rodney (Sur), Dread Scott, Xaviera Simmons, Danny Tisdale, Hennessy Youngman, and Carrie Mae Weems, among others.

Over five decades of performance art practices by such artists as Benjamin Patterson, David Hammons, Senga Nengudi, Lorraine O'Grady, Adrian Piper and Ulysses Jenkins are presented along representatives of subsequent generations such as Carrie Mae Weems, William Pope.L, Terry Adkins, Sherman Fleming, Danny Tisdale, Lyle Ashton Harris, Clifford Owens, Kalup Linzy and Adam Pendleton, among others.

Since its publication, a whole new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources.

Uncertain States offers an expanded look at a series of major installations by an emerging generation of artists whose source material derives from a media - saturated world and a canny knowledge of new art - historical references (from Richard Prince and Christopher Wool, among others) in an age of political dissonance and free - form use of material innovations and juxtapositions.

Represent culminates with a wide - ranging array of portraits created by several generations of artists, from those active over a century ago to those making work today, as well as audio excerpts of interviews with contemporary artists Moe Brooker, Barkley L. Hendricks, Odili Donald Odita, Joyce J. Scott, and others.

Other projects planned for the 2018 Spring Season include an exhibition by immigrant and first generation young artists organized by writer and recent citizen to the U.S. Ingrid Rojas Contreras, a print performance by artists Sergio de la Torre and Chris Tregiarri, and an evening of performances organized by poet and musician Sandra Garcia Rivera.

By contrast, Pretty Raw positions Frankenthaler as central to an alternative account of second - generation artists figured as more «feminine,» not only for the contributions of Frankenthaler, Grace Hartigan, Jane Freilicher, and other women, but also for the gay artists who presented a counterpoint to the previous generation's macho posturing.

Rather, it is placed in the context of works by a diverse array of artists that includes Sherrie Levine, Barbara Kruger, Lari Pittman, Nam June Paik, Jean - Michel Basquiat, Charles Ray, Sarah Charlesworth and Jasper Johns (some hailing from the Pictures Generation, others definitely not), a curatorial move that embeds Koons's Neo-Dada roots within a specific set of precepts that flow forward and backward in time.

MIAMI BEACH — Artist Rosalyn Drexler was once immortalized in silkscreen by Andy Warhol as her wrestling persona «Rosa Carlo, the Mexican Spitfire,» yet Drexler's own powerful Pop Art has never received as much acclaim as Warhol's work and others of her generation.

Joining him were other»90s - generation artists, like Sarah Morris, Matthew Barney, T. J. Wilcox, and Liam Gillick; a smattering of collectors (Ethan Wagner and Thea Westreich, Beth Swofford, Andy Stillpass, Mary and Rebecca Eisenberg); and a current generation of artists, represented by Rachel Rose and Ian Cheng.

His distinct perspective is what makes his work so noteworthy and over three decades later, his photos still resonate with the contemporary generation of artists, as evidenced by the contributions from Wes Anderson and other art world creators, each of whom command their own chapters of the new body of work.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

Directed by Richard Bellamy, the gallery showcased a new generation of artists, including, among others, Donald Judd, Robert Morris, Dan Flavin, Claes Oldenburg, Tom Wesselmann, James Rosenquist, George Segal, Yayoi Kusama, and Mark di Suvero.

In 2009, Kruger's postmodernist art was included in the important «Pictures Generation» exhibition at the Metropolitan Museum of Art, New York, along with works by other postmodernist artists of the 1980s involved in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952).

The two artists have been included together in other group exhibitions at museums worldwide, including To Infinity and Beyond: Mathematics in Contemporary Art, The Heckscher Museum of Art, Huntington, New York (2008); Structures of Difference, Wadsworth Atheneum Museum of Art, Hartford, Connecticut (2003); Generations of Geometry: Abstract Painting in America since 1930, Whitney Museum of American Art, New York (1987); Grids, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (1972); and Plus by Minus: Today's Half Century, Albright - Knox Art Gallery, Buffalo, New York (1968).

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the so - called Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

Check out work by the newest generation of emerging talent, meet the artists, get a behind - the - scenes look at their studios, and rub elbows with others in Minnesota's creative community.

Unlike other Australian artists of his generation, Sidney Nolan and Arthur Boyd, for example, Drysdale never lived abroad for any length of time, but he remained a regular exhibitor in London, where his 1950 show at Leicester Galleries, at the invitation of Sir Kenneth Clark, represented a major milestone in the history of Australian art, by convincing British critics that Australian painters had a distinctive vision of their own.

The Vilardell Collection comprises works by artists from a wide span of generations, from Antoni Tápies, Louise Bourgeois and Sigmar Polke to others who are still relatively unknown and, in a few cases, anonymous.

Curated by Bartomeu Marí, the exhibition features four generations of artists who question in their work the range of possibilities between desire — that which we wish for, independently of whether it is good or just a fact of life — and that which is necessary, without which we can not exist and which can not be any other way.

Featuring the work of Sam Gilliam on the cover, a new volume, «Four Generations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amGenerations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amgenerations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, among others.

7, 2015) that presents Lawrence's paintings in context with interpretations of the mass migration from the rural South to the urban North by other artists spanning generations and discplines, including literature, poetry, film and music.

The Pictures Generation artist Louise Lawler is used to showing her work alongside that of other artists — in fact, her photographs typically consist of work by other artists, coolly depicting name - brand icons of art as they are tastefully displayed in collectors» homes, museums, and other out - of - the - studio settings together with furniture, vases, and the other decorative objects of the well - heeled.

This technique, known as «soak stain» was used by Jackson Pollock (1912 — 1956), and others; and was adopted by other artists notably Morris Louis (1912 — 1962), and Kenneth Noland (1924 — 2010), and launched the second generation of the Color Field school of painting.

With over 300 pages of works by more than 150 artists, Trespass ultimately brings together into one book four generations of artists that include Jean Tinguely, Philippe Petit, Paolo Buggiani, Duke Riley, Spencer Tunick, Keith Haring, Os Gemeos, Jenny Holzer, Barry McGee, Gordon Matta - Clark, Shepard Fairey, Blu, Billboard Liberation Front, Guerrilla Girls and Banksy, among others.

By removing substantial parts of the rectangular field, Stella provocatively questions traditional conventions of art unlike any other artist of his generation.

Gertrude Whitney's artist friends — Robert Henri, John Sloan, Arthur B. Davies, William Glackens, and others — were soon joined by a younger generation that included Stuart Davis, Edward Hopper, and Reginald Marsh, all of whom had their first exhibitions at the Whitney Studio Club.