Sentences with phrase «contemporary artists of our age»

Pierre Huyghe is ony of the most important contemporary artists of our age.

The Northern Art Prize is a prestigious art prize for contemporary artists of any age, working in any media and living in the North of England (North West, North East and Yorkshire regions).

She describes it as a «self - portrait depicting the state of my life», but all of this is said with great humour from one of the most controversial and beguiling contemporary artists of our age.

Not exact matches

And there are even more in the genuinely contemporary writers, Kierkegaard, Kafka, Blake, Nietzsche, and all the artists of the Modern Age.

One of the leading contemporary recording artists, she is known for Taylor Alison Swift is a multi-Grammy award - winning American singer / songwriter who, in 2010 at the age of 20, became the youngest artist in history to win

Title: Keeping the Faith Series: Faithfully Yours, Book 3 Author: A.M. Leibowitz Publisher: Supposed Crimes Cover Artist: Stacy O'Steen Release Date: November 1, 2017 Romance Genre (s): Contemporary, M / M Words: 84,000 View on Goodreads About the Book Blurb It's been three years since Micah's spouse, Cat, passed away at the age of thirty - six.

Presenting work from contemporary African artists, it, first of all, underscores something we're all rather aware of — the domination of the art world by middle - aged white men.

Nico is part of an international wave of contemporary artists working to establish a new visual language for the still life in the information age.

Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists, Bronx Museum of Arts, New York, NY Infinite Mirror, Syracuse University Art Galleries (and traveling), Syracuse, NY Sweetcake Enso, Village Zendo, New York, NY 2010 Grains of Emptiness, Rubin Museum of Art, New York, NY Signs of Life: Ancient Knowledge in Contemporary Art, Kunstmuseum Luzern, Lucerne, Switzerland Reflection, Nathan A. Bernstein Gallery, New York, NY Dead or Alive, Museum of Arts and Design, New York, NY Progress Reports — Art in an Age of Diversity, Iniva, London, UK Spirit Up!

Future Eaters presents a range of contemporary Australian and international artists working with sculptural practices in our present technological age.

Coming of age as an artist in 1950s New York, Katz developed his unique approach to contemporary representational painting during the height of Abstract Expressionism.

This project brings an innovative online commission to life, and we are particularly pleased to be continuing our support for artists who explore the meaning of contemporary art in the digital age.»

The museum organizes and presents leading - edge exhibitions that travel to institutions worldwide, including Southern Accent: Seeking the American South in Contemporary Art (2016 - 17), Archibald Motley: Jazz Age Modernist (2014), Wangechi Mutu: A Fantastic Journey (2013), The Vorticists: Rebel Artists in London and New York, 1914 - 1918 (2010) and Barkley L. Hendricks: Birth of the Cool (2008).

ONE YEAR OF RESISTANCE celebrates art as activism, giving voices to contemporary artists from all backgrounds, ages and genders.

Combining her formal background in illustration, abstraction, landscape, figuration, and her interest in mysticism, spirituality and Kabbalah - Appel creates a uniquely original interpretation of the ages old Tarot deck, and is probably one of the only contemporary fine artists to undertake such an ambitious project.

The nebulous notion of ephemeral storage for digital information captures the imagination of many contemporary artists, and it has also been a popular art subject throughout the ages that can now be marketed as if imbued with a new meaning, with Diane Arbus» 1960 photograph Clouds on - screen at a drive - in movie, N.J., offered by Fraenkel Gallery, being just one example.

The gallery brings together a group of London - based contemporary artists who seek to address the dilemmas, realities and consequences of living in a post-sci-fi digital age.

Britain's most prestigious contemporary art prize is making major rule changes to allow artists of any age to participate — an acknowledgement that people are never too old to «experience a breakthrough in their work».

Damien Hirst is one of the major representative artists of the contemporary age.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

Nothing is quite what it seems in Sophia Contemporary Gallery's Im / material: Painting in the Digital Age, a closely curated show including twenty works by eight artists working at the intersection between the immaterial realm of 1s and 0s and the material facts of canvas, ink and paint.

That is why the Hepworth Wakefield, of which I am director, has launched a # 30,000 biennial award, the Hepworth prize for sculpture, that will recognise a British or UK - based artist of any age, at any stage in their career, who has made a significant contribution to the development of contemporary sculpture.

When I was coming of age and getting interested in contemporary art, the three artists I looked at the most were Chuck Close, Cindy Sherman and Eric Fischl.

Designed by one of our most celebrated contemporary artists, The Caged Bird's Song (pictured below) not only demonstrates the exceptional technical, creative and interpretative abilities of the five weavers who produced it, but nods to the allure of tapestry for artists through the ages, too.

His theme was the development of ten contemporary artists, beginning with Duncan Grant as the most senior and ending with Prunella Clough, then aged 31 (the other artists were L.S. Lowry, Anthony Levett - Prinsep, Ivon Hitchens, Keith Vaughan, John Armstrong, John Piper and John Napper).

1936 «Five Contemporary American Concretionists: Biederman, Calder, Ferren, Morris, and Shaw,» (curated by A.E. Gallatin) presented by The Gallery of Living Art at the Paul Reinhardt Galleries, New York, NY; exhibition travels to Galerie Pierre, Paris, France; Mayer Gallery, London, UK «Salons of America,» American Art Association - Anderson Galleries, New York, NY, March Yale Club, New York, NY Independent Artist's Exhibition, New York, NY Paul Reinhardt Galleries, New York, NY Modern Age, New York, NY

The death of the renowned artist Sol LeWitt on 8 April, at the age of 78, comes well after those of his contemporaries, Don Judd, Dan Flavin and Carl André.

Among the acquisition highlights during the past two decades have been: in Archaeology, the Renée and Robert Belfer Collection of Ancient Glass and Greek and Roman Antiquity and the Demirjian Family European Bronze Age Collection; in Jewish Art and Life, an illuminated Mishneh Torah of Maimonides (ca. 1457), acquired jointly with the Metropolitan Museum of Art, and the restored 18th Century Tzedek ve - Shalom Synagogue from Paramaribo, Suriname; and, in the Fine Arts, Nicolas Poussin's «Destruction and Sack of the Temple of Jerusalem» (1625), Rembrandt van Rijn's «St. Peter in Prison» (1631), the Arturo Schwarz Collection of Dada and Surrealist Art, Jackson Pollock's «Horizontal Composition» (1949), the Noel and Harriette Levine Collection of Photography, and Gerhard Richter's «Abstraktes Bild» (1997); together with an active and ongoing program of acquisitions in contemporary art, including site - specific commissions by such artists as Olafur Eliasson, Anish Kapoor, and Doug and Mike Starn.

Now in its 29th year, the annual award, presented to a contemporary artist under the age of 50 with an outstanding exhibition of work, has come a long way since its early controversies.

Its exhibitions and programs provide access to contemporary art, artists, and the creative process, inviting audiences of all ages and backgrounds to participate in the excitement of new art and ideas.

The type of «information painting» which many contemporary artists seem to be producing today has more than just a formal correspondence with the work of some of the pioneers of Azimuth and of the more obscure artists of the «Arte Programmata»; it is by analyzing the prehistory of the digital age that we can hope to understand better our present.

In collaboration with e-flux and Verso Books, the Guggenheim presents the U.S. launch of two recent Verso publications: Hito Steyerl's Duty Free Art: Art in the Age of Planetary Civil War, a new volume of essays by the writer, filmmaker, and artist; and Supercommunity: Diabolical Togetherness Beyond Contemporary Art, a collection of essays, poems, short stories, and plays by artists and theorists selected from the eponymous 88 - text issue of e-flux journal commissioned for the 56th Venice Biennale.

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.

In her review of the ICA Boston's current exhibition, Art in the Age of the Internet: 1989 to Today, Megan Driscoll (PhD candidate in contemporary and African American art at the University of California Los Angeles) attends to the conflicted responses that the featured artists and exhibition curators alike express toward the ubiquity of computer networks, unpacking exhibition subthemes ranging from «states of surveillance» to «performing the self.»

Curated by Peter Drake, Dean of the Academy, and gallerist George Adams, Piss and Vinegar unites two generations of provocateurs: five men who came of age in the 1960s and five contemporary female artists.

The curatorial premise brings artists together whose work concerns «automated empathy, new age philosophy, digital death and the rise of artificial intelligence in contemporary society.»

Within the Azimuth group emerged a reflection on the relationships that tie information, consumerism and communication, which I find particularly relevant in understanding how many younger contemporary artists are dealing with the overload of information in the digital age.

These artists examine how contemporary women assign significance and emotion in an age beyond that of Valerie Solanas, when establishing recognition and power as a feminist, female, or effeminate artist entailed simply and singularly shooting Andy Warhol.

In this turbulent environment, which mirrors our contemporary age, the artist posits that there is a need for constant reassessment of presented narratives.

Curated by Anika Meier, the show explores the contemporary generation of women artists who use new media to explore gender, sexuality and identity in the digital age.

Those pieces — respectively by Alison Jackson, who's British, and Touba Alipour, who was born in Iran in lives in New York — are just a couple of the 80 works by contemporary artists ages 18 to 80 from around the world whose creative juices were inspired by such hot - button issues as racism, sexism and discrimination.

«I've known Walter for at least a couple decades as an artist, writer and activist in the art world, who was very involved on the lower east side of Manhattan in the»70s and»80s when many (contemporary) artists were coming of age,» King says.

Recent solo shows include: your age my age and the age of the rainbow, The Garage Museum of Contemporary Art, Moscow; let's start this day again, Contemporary Arts Center, Cincinnati; every time the sun comes up, Place Vendome, Paris; girono d'oro + notti d'argento, Mercati die Traiano, Rome; becoming soil, Carre d'Art, Nîmes; seven magic mountains, Art Production Fund and Nevada Museum of Art / Desert of Nevada; vocabulary of solitude, Museum Boijmans Van Beuningen, Rotterdam; Ugo Rondinone: I ♡ John Giorno, Palais de Tokyo, Paris; golden days and silver nights, Art Gallery of New South Wales, Sydney; and artists and poets, Secession, Vienna.

Often attending Chelsea gallery openings on the arm of her friend Rainer Judd (the daughter of Minimalist Donald Judd), Coppola began collecting photography at a young age before delving into contemporary painters and mixed - media artists.

Group museum exhibitions include Artists» Film International, MAAT, PT (2017 - 2018); Staging Film, Busan Museum of Art, KR (2016); Art in the Age of Energy and Raw Material, Witte de With, NL (2015); Music for Musuems, Whitechapel Gallery, UK (2015); Listening: Hayward Touring (Baltic 39 & The Bluecoat), UK (2014 - 2015); Inside, Palais de Tokyo, Paris, FR (2014 - 2015); Assembly, TATE Britain, London, UK (2014); Aquatopia, TATE St Ives & Nottingham Contemporary, UK (2013 - 2014); Art Sheffield 2013, Site Gallery, UK.

The Samdani Art Award aims to support, promote, and highlight Bangladeshi contemporary art, and was created to honour one talented emerging Bangladeshi artist between the ages of 22 and 40.

McArthur Binion, a Chicago artist born in Mississippi, who came of age in Detroit as the eleventh child of a family that went from tenant farmers to factory workers in the automotive plants, is having his first solo museum show at the Contemporary Art Museum Houston (CAMH) opening Jan. 6th (through April 1).

Shirley's work was also featured in group exhibitions including: Chance Ecologies, Queens Museum (2016); The Luminous Surface, Salisbury University, Maryland, USA (2015); Magnetic North: Artists of The Arctic Circle, UBS Art Gallery, New York, NY (2014); Sandnes 2160, Museum of Moving Image, New York (2013); Free City, Public At installation for The Flint Public Art Project, Flint, Michigan (2013); [PAM] Cyland Festival, Hermitage Museum, St. Petersburg, Russia (2009); Drift, National Center for Contemporary Art, Moscow, Russia (2008); Video Art in The Age of the Internet, Chelsea Art Museum, New York, NY (2007); Video As Urban Condition, Museum of Modern Art Linz, Linz, Austria (2007).

By bringing these four artists together in the same exhibition, rosenfeld porcini hopes to contribute to the human ability to continually re-invent age old materials into contemporary forms and show how artists whilst in total respect of their history and tradition, manage to take their media into our present age.

Alongside newly commissioned essays by leading international scholars and works by contemporary visual artists, key historical texts trace a trajectory of writings across religions, cultures, genders and ages to reflect the breadth of conflicting and constantly shifting attitudes towards the veil.