Sentences with phrase «contemporary painters like»

He's definitely revered by some many artists I admire, and I can definitely see the influence on contemporary painters like Amy Sillman, Dana Schutz, Barry McGee, etc... I've only seen a few in person, and from what I remember that's the way you need to see them; the scale, the paint handling, even the smell of the linseed oil.

Numerous contemporary painters like Noam Rappaport, Lauren Luloff, and Gedi Sibony share an aesthetic sensibility with the Supports / Surfaces movement in that they embrace supports and materials as well as the canvas itself as part of the art they make.

His reprise of that salon, with contributions from contemporary painters like Cecily Brown and John Currin, was a highlight of the recent Armory Show in New York.

Renaissance painting, [especially early Renaissance northern Italian painters, specifies Stonehouse], contemporary painters like Leon Golub and Anselm Kiefer, magic realist writers such as Gabriel García Márquez, Day of the Dead imagery, movie posters from Ghana, West African barber shop signs...»

Deitch has decorated an exhibitor's booth in the style of Stettheimer's studio, with contributions from contemporary painters like Cecily Brown and John Currin.

Consider what happens when Robert Mapplethorpe encounters Mannerism, contemporary painters like John Currin create their own «Idols of Perversity,» and — long before both — Goethe built a great drawing collection on his mistakes.

Contemporary painters like Sean Scully, whose black - stripe paintings from 1975 to 1980 are at LeLong, and John Zurier, whose wispy abstract paintings are at Peter Blum, uphold their medium as a vehicle of timeless poetics.

Not exact matches

Michelle Obama's official portrait will be by the painter Amy Sherald, a rising talent whose first solo museum show will open in May at the Contemporary Art Museum St. Louis... portraits are a bit like online dating, with subjects paging...

The contemporary collectors who cut their teeth on younger artists are going back to wonderful figurative painters like Neel.

Billowing and diaristic, expansive and soft, they have more affinities with a current abstract painter like Joanne Greenbaum than with any of his contemporaries.

Like many other contemporary painters, she applies copious quantities of paint in various ways,...

The fair has become more up - to - date than it used to be, with solo shows by established contemporaries like the photorealist painter of suburban ennui Robert Bechtle, at Gladstone, whose booth happily turns out to be opposite Fraenkel's, where there is a similarly moody selection of photographs of residential development in the American West by Robert Adams.

I'm not trying to paint from history or be a contemporary painter, I think they are both in my work and I like that fusion.»

Ten contemporary female painters are featured, from pioneering painters like

With his iconic paintings serving as a trademark of American contemporary art, Wayne Thiebaud is a Pop art painter best known for his colorful works depicting commonplace objects like pies, lipsticks, paint cans, ice cream cones, pastries and hot dogs, although he has painted many landscapes and figures in his time as well.

One of the standard - bearers of the polarizing, hard - to - categorize group of contemporary painters that includes such artists as Mark Grotjahn, Nicole Eisenmann, Richard Aldrich, Josh Smith and Michael Williams, Joe Bradley (born 1975) is widely known for his bright abstract paintings and glyph - like drawings.

From iconic modern painters like Brice Marden, to contemporary designers like Jürg Lehni, to artists working across disciplines including photography, architecture, media arts, performance, film, and public practice, we invite you to hear from artists who are shaping the future of contemporary art.

The original common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.

Ten contemporary female painters are featured, from pioneering painters like Mary Heilmann to a newer crop of rebels like Molly Zuckerman - Hartung and Amy Feldman.

My mother had a ton of books on classical painters, like Caravaggio, and the greats of the Renaissance, whom I loved, but no books on contemporary art.

2013 Wipala / Annicā, Surveying: William Cordova & Glexis Novoa, Bridge Red Studios, North Miami, FL Perder la forma humana, Una imagen sísmica de los anos ochenta en America Latina, Curated by Red Conseptualismos del Sur at Museo de Arte de Lima, Lima, Peru Curadores come home II, Curated by Rachel Weis & Sandra Ceballos, Espacio Aglutinador, Havana, Cuba Antonia Eiriz: A Painter and Her Audience, MDC Museum & Galleries of Art + Design, Miami, FL Faux Life, Richard Heller Gallery, Santa Monica, CA El Canto del Cisne, Instituto Cervantes in Berlin present the documentary El canto del Cisne (Swan song) produced and directed by Glexis Novoa; Kino Babylon, Berlin Mentes peligrosas, Espacio Aglutinador, Havana, Cuba Empire, Curated by Natika Soward, FiveMyles, Brooklyn, NY Politics: I do not like it, but it likes me, Curated by Agnieszka Kulazinska and Dermis León, Center for Contemporary Art Laznia, Gdansk, Poland Aesthetics & Values 2013, Patricia & Phillip Frost Art Museum, Miami, FL

FRANCIS PICABIA: OUR HEADS ARE ROUND SO OUR THOUGHTS CAN CHANGE DIRECTION Picabia was on the ground with the Dadaists in Paris, but this exhibition includes his later work, which has influenced contemporary painters — perverse figurative paintings that look like precursors to Pop Art, or pulp fiction book covers.

A few years before the memorable crit at MassArt, his work had been included in the Corcoran Gallery's 40th Biennial of Contemporary American Painting, which critics saw as an antidote to the «camp and kitsch» of figurative painters like David Salle and Eric Fischl.

The stars of the collection cover a dizzy variety of styles cover some 175 years, from the 19th Century painter Robert S. Duncanson to contemporary voices like conceptual artist Glenn Ligon.

Even now it could be too late for some of the artists on its wish list, such as contemporary figures like painter Mark Bradford and painter - sculptor Kerry James Marshall, whose prices are now topping seven figures, or Harlem Renaissance hero Aaron Douglas, whose works are both expensive and scarce.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, ParisPainters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Parispainters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.

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Most of the works in Tate Britain's show of contemporary painters this winter «looked like paintings made at a desk.

Their potpourri of contemporary precedents is too easily parsed: Kathe Burkhardt's raw images of Elizabeth Taylor, Robert Colescott's racial indiscretions and the decorative (often beaded) overkill of artists like Lucas Samaras, Lisa Lou, Rhonda Zwillinger and Joyce C. Scott, not to mention the godfather of excessive tactility, the erstwhile cotton - ball painter Joe Zucker.

«They liked the energy,» said Sharp, «but the idea also came from spending a whole evening listening to four well - known contemporary painters talking about the varnish on a painting in the Louvre.»

Ms. Freeman, who died in January at the age of 87 in Beverly Hills, also loved contemporary art and in the 1950s began collecting works by Abstract Expressionist painters like Clyfford Still, Sam Francis and Mark Rothko.

«The original idea was that it would be a space for an artist - in - residence,» said Mr. Judin who, with the New York dealer David Nolan, opened Nolan Judin Berlin in October 2008, a gallery that displays the works of prominent artists like George Grosz, the German painter, as well as up - and - comers like Adrian Ghenie, a contemporary Romanian painter.

Recent Group Exhibitions include: Painters» Painters, Saatchi Gallery, London (2016), The Violet Crab at DRAF, David Roberts Arts Foundation, London (2015), Feels Like Heaven, Sommer Contemporary Art, Tel Aviv, Israel (2014), Newspeak: British Art Now, Saatchi Gallery, London (2010)

The permanent exhibition focuses on contemporary painters from Leipzig including important names like Tilo Baumgärtel, Henriette Grahnert, Paule Hammer, Uwe Kowski, Peter Krauskopf, Edgar Leciejewski, Rosa Loy, Neo Rauch, Christoph Ruckhäberle and Matthias Weischer.

For there are surely few contemporary painters as romantic as himself: in an age when the medium is freighted with irony and anxiety and self - justifications, Doig's pictures are silent, wonderstruck, contemplative affairs which have prompted comparisons with the likes of Munch, Bonnard, Beckmann, Van Gogh and, yes, Gauguin.

While it's true that he was a slightly younger contemporary of painters like Julian Schnabel and Francesco Clemente, who were making a mark with figurative works at the beginning of the 1980s, most of the outstanding black painters of the generation preceding Marshall's own — Frank Bowling, Ed Clark, Sam Gilliam, Howardena Pindell, Jack Whitten — were committed abstractionists.

In the NY Times, Roberta Smith, writes a short essay on the state of contemporary painting in which she suggests not only that ranking art mediums and declaring some of them (like painting) dead is finally passé, but that painters are approaching the medium more freely than ever.

Alongside contemporaries of Woolf (including her sister, the painter Vanessa Bell, who in 1914 beat Malevich to pure geometric abstraction) are midcentury artists such as Louise Bourgeois and Agnes Martin, plus contemporary figures like the South African photographer Zanele Muholi and the Polish - born collagist Anna Ostoya.

To put Lawrence's work in historical perspective, MoMA will showcase the work of contemporaries who interpreted the migration, including Richard Wright and Langston Hughes, Billie Holiday, Duke Ellington and Gordon Parks and Dorothea Lange, as well as painters like Romare Bearden and Charles White.

... He is a self - taught, contemporary artist whose works reflect a variety of influences, from pop culture to painters like Willem de Kooning and Franz Kline.

I would like to highlight the exhibition of works from the Jacques and Natasha Gelman Collection of Mexican modern art, which includes well known masterpieces by Frida Kahlo and Diego Rivera; the survey of the African work of the Spanish painter Miquel Barceló, and the exhibition of Irish contemporary art from corporate collections in Ireland, organised with the help of Business2Arts and the very welcome support of Anglo Irish Bank, KPMG, The IrishTimes and Image Now.

Thomas is often associated with the color field painters of the so - called Washington Color School; Morris Louis and Kenneth Noland, the most prominent, were Thomas» contemporaries and, like her, were based in Washington.

«Looking East» redresses those lapses by presenting work of masters like Pollock, de Kooning, and Rothko alongside their lesser recognized contemporaries, including painters Paul Horiuchi and Kenzo Okada, sculptors Ruth Asawa and Isamu Noguchi, and artists of Hawaii such as Satoru Abe, Bumpei Akaji, Isami Doi, Ralph Iwamoto, Tadashi Sato and others.

Artists represented range from early American painters such as Robert Street (1796 — 1865) and Charles Willson Peale (1741 — 1827) to contemporary figures like Bill Walton (1931 — 2010), Jonathan Lyndon Chase (born 1989), Sarah McEneaney (born 1955), and Alex Kanevsky (born 1963).

Her work calls to mind painters from Italian mannerist masters to Joan Mitchell to contemporaries like Louise Fishman, but with a fresher palette with less depictive chroma.

He's included older painters like Jackson Pollock and Willem de Kooning, icons of black contemporary art like David Hammons, as well as underappreciated figures like Beauford Delaney.

Like many contemporary painters, Jeremy Annear embraces a post-disciplinary aesthetic.

The technique of slamming two bodies of quotation headlong into one another is quintessentially postmodernist, and it is perhaps worth remembering that generationally speaking Irish is not a contemporary of certain painters whose work superficially resembles her own, like Lisa Yuskavage and John Currin, but rather artists of the 1980s like Cindy Sherman, Jenny Holzer, and Louise Lawler.

When I was in art school in the late»70s, I saw it begin, but the young painters today, unlike my generation of painters, find it almost impossible to locate truly inspiring contemporary artists for whom painting's meaning can be derived from what a painting looks like.