Sentences with phrase «by painters david»

This selection of work by twenty - two artists working in New York in the 1980s, organized by painters David Salle and Richard Phillips, was filled with many fine things.

Directed by painter David Salle in his cinematic debut; unfortunately, he lacks the filmmaking savvy to unify the screenplay's inconsistent events and atmospheres.

It was proposed by the painter David Reed and assembled by the art historian and critic Katy Siegel in consultation with Mr. Reed.

David Diao: «TMI» (through April 27) Postmasters, one of Chelsea's few consensus - aversive spaces, is leaving the neighborhood, and on just the right note, with a survey of work by the painter David Diao, who first showed at the gallery in 1985.

Deciding to become an artist at the age of 16, Auerbach began going to art classes taught by the painter David Bomberg at the Borough Polytechnic, which he continued to attend whilst also studying at St Martin's School of Art and the Royal College of Art in London.

Not exact matches

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

Inspired by the novel written by David Ebershoff, The Danish Girl is a love story about Danish painters Einar Wegener and his wife Gerda.

Based on David Ebershoff's fictionalised account of Elbe's life, the story follows Danish painter Einar Wegener's journey from posing in women's clothes for his wife Gerda, played by Alicia Vikander, after a model failed to show up, to becoming a woman.

The film has been adapted by Lucinda Coxon from David Ebershoff's 2001 novel of the same name, which details the life of Einar Wegener / Lili Elbe, a Danish painter and one of the first people to undergo...

As the title implies, it provides 41 rejected attempts at beginning a profile of the artist David Salle, a megastar painter in the 1980s whose reputation had started to wane by the time Malcolm began interviewing him in the early 1990s.

With a design by the painter Jacques - Louis David, [2] a massive «Altar of the Nation» was built atop an artificial mountain and surmounted by a tree of liberty.

Similarly, in 1979, there were new projects to restore the convent: David Rodrigues Arruda worked as plasterer and painter; António Feliciano de Melo retouched the nave; João Jacinto Teves was responsible for masonry work on the site; the chapel was electrified by electrician Manuel Cabral de Madeiros Sardinha (Ponta Delgada).

As for the artwork, Lovecraft Tales will feature hand - drawn 2D environments inspired by 19th century art, i.e. the works by the German painter Caspar David Friedrich.

You've discovered the work of David Irvine and his ongoing Redirected Art series; now it's time to introduce Dave Pollot, an American painter who also loves to bring new life to old and forgotten thrift store paintings by adding pop culture characters.

Faye Hirsch, Franklin Einspruch, Christina Kee, and David Cohen discuss recent exhibitions by four painters: Mary Corse, Ridley Howard, Glenn Goldberg, and Joyce Pensato.

The painter Amy Sherald has won this year's David C. Driskell Prize, which is given annually by the High Museum of Art in Atlanta.

As stated by David Zwirner: «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century.

Under the New Deal, he produced murals for the Works Progress Administration, and was greatly influenced by the work of Mexican mural painters David Alfaro Siquieros and Diego Rivera.

Los Angeles - based critic David Pagel grouped six painters and three sculptors from the West and East coasts inspired by the «Stone Soup» fable, titling it «Stone Gravy.»

The roster ranges from New York painters like the emerging Samuel Jablon and the veteran Rochelle Feinstein to 40 - something Angeleno Amy Bessone, who contributes ceramics and paintings, to, in a nod to the artists» forebears, a video by the late artist and AIDS activist David Wojnarowicz.

It includes an essay by David Rhodes that places Lawlor's work alongside still living but older European painters such as Per Kirkeby, Howard Hodgkins, and Pierre Soulage, and more directly compares Lawlor's paintings to Willem de Kooning's works from the 1980s.

Works by David Siqueiros, a political, radical - minded Mexican social realist painter, and an adversary of Rivera, who was best known for his large fresco murals, are also included in the collection.

Exhibiting the austerity of abstract formalism (represented by stone), leavened and enriched by sensory overloads of color, texture, and pattern (standing for the gravy), were the painters Brad Eberhard, Annie Lapin, Kim MacConnel, Allison Miller, Richard Allen Morris, and David Reed.

Tucked away in the back galleries are some of the exhibition's greatest showstoppers, including a mesmerizing painting by Ukraine - born Shimon Okshteyn; two red - drip paintings by Israeli - born, East Hampton - based poet, musician and painter Haim Mizrahi; and an abstract painting by another East End musician and artist, David Demers.

What marks the success of David Richard Gallery's recent group - show homage to the AbEx tradition is the pervasive choice by the show's painters to pursue their own course.

The tribute to the British painter, who lives in Trinidad, was written by his good friend the Ghanaian - British architect David Adjaye.

By Eva Buttacavoli Photo: David Leach & Naysan McIlhargey, ceramic, glaze I took the occasion of the recent collaboration of potter Naysan McIlhargey with printmaker David Leach, drawer / printmaker Erin Holscher Almazan and painter / printmaker Jennifer Rosengarten to visit McIlhargey's studio, Miami Valley Pottery, for the first time.

Considered in terms of the social history of American art, however, he's an important figure, because, as the art historian David Driskell writes in the exhibition catalog, he was «among a small number of African - American painters in the nation working abstractly at the time, and he was among the few artists of color who were represented by a mainstream gallery in New York.»

Particularly significant are the collection of Bay Area figurative painters, including Richard Diebenkorn, David Park, and Elmer Bischoff, and works by American Realist painters Philip Pearlstein, Jack Levine, and Jerome Witkin.

Co-curated by musician and painter Scott Avett, lead singer of the folk - rock band The Avett Brothers, and David Kratz, president of the New York Academy of Art, ABOUT FACE, which will feature sculpture, paintings, and photographs, brings celebrated artists, many from the East End, together with emerging artists to examine the diverse ways human beings are presented in portraiture today.

Goodman Gallery is pleased to announce a solo exhibition of new work by David Koloane (b. 1938), one of South Africa's most renowned Expressionist painters.

TRIBECA & SOHO & NOHO & EAST VILLAGE & MURRAY HILL 100 Painters of Tomorrow / 23 Warren / thru 12/6 Material Way curated by Kathleen Kucka / BMCC — CUNY / 81 Barclay / thru 12/1 Carey Denniston / Kansas / 59 Franklin / thru 12/20 Anton Perich / Postmasters / 54 Franklin (new location) / thru 11/22 Terry Winters / The National Exemplar / 381 Broadway @ White — suite 206 / thru 12/31 Bianculli's Personal Theory of TV Evolution organized by David Bianculli / Apexart / 291 Church / thru 12/20 Seokmin Ko; Elena Berriolo / API / 434 Greenwich / thru 12/20 Basim Magdy; Daphne Fitzpatrick; Will Yackulic / Art in General / 79 Walker / thru 1/10 Mohammed Kazem / Grahne / 157 Hudson / thru 12/20 MFA Thesis Exhibition (Part I) / Hunter / 205 Hudson (on Canal) / thru 11/22 Ariel Orozco / Brownstone / 3 Wooster / thru 11/22 Design Series / Swiss Institute / 18 Wooster / thru 11/23 Classical Nudes / Leslie - Lohman Museum / 26 Wooster / thru 1/4 Roy Lichtenstein / Feldman / 31 Mercer / thru 12/20 Opening 11/22 Pedro Cabrita Reis / Freeman / 140 Grand / thru 12/20 Sam Samore / Team / 83 Grand / thru 12/21 Opening 11/23 Tim Noble & Sue Webster / Geiss / 76 Grand / thru 12/20 Chris Domenick / Recess Activities / 41 Grand / thru 12/20 Smoothie Social: 11/22 (3 - 6 PM) Performance: 12/18 (6 - 8 PM) Prime Matter / Senaspace / 229 Centre / thru 12/6 Thread Lines; Xanti Schawinsky / Drawing Center / 35 Wooster / thru 12/14 Open Sessions 2 / Drawing Center: The Lab / 35 Wooster / thru 12/14 Opening 11/21 Andreas Schulze / Team / 47 Wooster / thru 12/21 Opening 11/23 Phillip Chen, etc. / Museum of Chinese in America / 215 Centre / thru 3/1 Nadja Frank; Jessica Segall / Denny / 261 Broome / thru 12/7 Paul Cowan / Clifton Benevento / 515 Broadway / thru 12/20 Mitsuko Miwa / Longhouse / 285 Spring / thru 12/6 Reuven Israel / Fridman / 287 Spring / thru 12/20 Plasmatik: K.K.Thoen, G.Kroenert, S.A.March, T.Francke, S.Tufnell; curated by N.Kates / Melissa / 102 Greene / Opening 11/20 (7 - 9 PM) Social Photography IV / Carriage Trade @ Harvey Foundation / 537 Broadway / Closing Reception 11/22 (6 - 9 PM) The Right Amount of Wrong curated by Lovina Purple / ISE Foundation / 555 Broadway / thru 12/19 Ernesto Burgos / Werble / 83 Van Dam / thru 12/20 Suzatte Bross / Geary / 185 Varick / thru 12/6 Amy O'Neill / Karma / 39 Great Jones / thru 12/6 Alex Kwartler; LeRoy Stevens / Karg / 41 Great Jones / thru 11/26 Learn to Read Art: A Surviving History of Printed Matter / 80WSE / NYU / 80 Washington Square East / thru 2/14 Opening 12/2 Reception 12/12 Ernest Cole / NYU Grey Art Gallery / 100 Wash..

A presentation by Leslie Tonkonow Artworks + Projects of new works by American painter and printmaker Amy Cutler will also be on view, as well as significant works on paper by notable Op art exponent Bridget Riley, exhibited by David Zwirner.

David Hockney, the amazing painter of our time, is represented by a lovely drawing named Mark, Bella Vista Hotel, Macao.

The monograph, designed by Takaaki Matsumoto and authored by philosopher and art critic David Carrier, is the first to trace Rohrer's trajectory over 40 years, describing the highly unorthodox arc of his life — from Mennonite stock in rural Pennsylvania to prominence as an exceptional abstract painter of the late 20th century.

A handful of established painters set the tone, including unusually compact but dense translucent swirls by David Reed, who curated a survey of the 1970s in the same rooms just a year before.

The Anderson collection gets a jump start with the intense color accents and rippling enamel texture of Lucifer, by Jackson Pollock, before ending with such outsize painters as David Reed and Susan Rothenberg.

Modernism is defined in Latin America by painters Joaquín Torres García from Uruguay and Rufino Tamayo from Mexico, while the muralist movement with Diego Rivera, David Siqueiros, José Clemente Orozco, Pedro Nel Gómez and Santiago Martinez Delgado, and Symbolist paintings by Frida Kahlo, began a renaissance of the arts for the region, characterized by a freer use of color and an emphasis on political messages.

There are outstanding works by at least some of these artists in the Permanent Collection, including Albert Irvin's glorious «Caledonia,» David Nash's «Branch Cube» and «Family Tree,» James Turrell's suite of aquatints, and a watercolour by the brilliant figurative painter John Bellany.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

On the second floor on the southeast corner wall there appeared quite prominently David Novros's monumental fresco, the painter's first so - called «painting - in - place,» which was commissioned by Judd in 1969.

Unlike other contemporary artists such as Fabian Marcaccio who deconstructs the medium quite literally by silk — screening impastoed gestures and exposing the stretcher; and Joseph Marioni, David Simpson, or other monochromatic painters who have reduced the medium to its most essential elements; Doig steadfastly reflects an ambiguous yet familiar place between high and popular culture, and familiar locations and nowhere.

Figure shown with back to the viewer, alluding to landscape imagery made popular during the period of German Romanticism by painter Caspar David Friedrich in the 19th century.

They were introduced to the Santa Monica - based artist by Stanford faculty member and painter Nathan Oliveira, who was also instrumental in directing the collectors» attention toward California artists such as David Park and Peter Voulkos.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

BAMPFA's collection of Modern art is built around a remarkable core holding of fifty paintings by the Abstract Expressionist painter and teacher Hans Hofmann and includes significant works by Mark Rothko, Helen Frankenthaler, Ad Reinhardt, Jackson Pollock, David Smith, and Clyfford Still.

By not painting from life, Doig and most mid-career painters of the late 20th and 21st century have, it seems to me, a fundamentally different relationship with modernist painterly tradition from the generation above them — Freud, Leon Kossoff, Frank Auerbach, even David Hockney.

In a 2014 interview for Film Comment (published by the Film Society of Lincoln Center) the Canadian actor and painter (and star of Cronenberg's 1981 film Scanners) Stephen Lack made «a special shout - out to the artist Mark Prent whose sculptures inspired David, I am sure.»

The editorial is accompanied by a conversation from the 1990s between the late painter and DAVID BOWIE.

Alongside an additional selection of Neapolitan gouaches is a series of lithographs by David Roberts, a Scottish painter known in particular for his detailed prints of Egypt and Nubia — themselves based on a set of drawings the artist produced during his travels along the Nile in 1838 — 39.