Sentences with phrase «critics see these paintings»

However, some critics see these paintings as an indication that his ability and power is declining.

Not exact matches

The film looks gorgeous, and I've seen lots of critics compare its aesthetic to a painting.

Some critics saw the Race to the Top stipulations as federal strong - arming that allowed the Obama administration to paint state adoption as entirely voluntary when, in fact, there were potential financial consequences for opting out.

It is inspiring to see so many artists and critics writing daily about painting.

While a critic of 1843 saw «a club, a people's bank or a phalanstery» in «this dream of the gardens of Academe,» and noted the unusual amalgamation of Horace's Odes and Plato's dialogues with the steamship and the telegraph, the expendability of these contemporary elements is revealed when L'Artiste announces that Papety, on the basis of critical advice, has replaced his steamboat with a Greek temple, «which,» remarks the anonymous critic, with unconscious irony, «is perhaps more ordinary but also more severe than socialism in painting.»

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

So he is able to tell his somewhat patronizing guide, the French critic Pierre Schneider, to see Uccello's The Battle of San Romano as a modern painting, a flat painting, and to explain why Mantegna's Saint Sebastian bleeds no more than a piece of wood despite being pierced with arrows.

BIBLIOGRAPHY 2009 Helfand, Glenn, «Critic's Pick: A Wild Night and a New Road,» artforum.com, January 2009 Now You See It, SkyWest Magazine, January / February 2009, p. 38 Garrels, Gary, «Oranges and Sardines: Conversation on Abstract Painting,» Hammer Museum: Los Angeles, 2009, pp. 11 - 12 and 32 - 47 Pagel, David, «Review: «Oranges and Sardines» at the Hammer», Los Angeles Times, January 2, 2009

Appeasing, flattering, or even prostituting oneself to corporate sponsors is par for the course when trying to keep a major museum afloat, but the Centre Pompidou in Paris had critics seeing red when, in 2006, at a Pernod - Ricard — sponsored gala, it staged an unauthorized revival of the artist Yves Klein's most famous performance, Anthropométries, substituting the Yves Klein — blue paint splattered on the performers with what looked suspiciously like the liquor brand's signature blue.

Free of the old formulas of Abstract Expressionism or informal art, leaving behind the repetition of geometric art, young artists and critics saw in Reinhardt the affirmation of an ultimate painting.

Critic Helen Sumpter suggests in her recent essay on Gabb: «It's almost as if Gabb had taken something of the cool colour field paintings of Barnet Newman and turned them into something like the gestural action paintings of Jackson Pollock... These extraordinary artworks could also be seen as somewhat flighty but if they've become sculpture, paintings should at least stay fixed in their final form, shouldn't they?

Does painting have critics «Seeing Red»?

In an unexpectedly combative interview in advance of the show's installation, he spoke to Artspace deputy editor Karen Rosenberg about what critics do or don't see in his work, whether figurative painting is having a resurgence, and why the word «political» carries so much baggage.

Ben Davis, a critic at artnet News, felt that the paintings, seen together, reveal Martin's search for clarity.

Morris, a longtime East Hampton resident who died in 1979 at the age of 61, was an instructor at Cooper Union among other schools and was a visiting critic at Yale University's graduate school in addition to being in the collections of the Guggenheim and Whitney Museums, but it is easy to see why this painting might have been lost in an era defined by aggressive masculinity.

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.

Although the heretical «maximalist» Stella divided critics, his extravagant flights into literal space extended his definition of paintings as objects and seeing as a physical act.

Having seen this painting in the landmark 1905 Van Gogh retrospective at the Stedelijk Museum in Amsterdam, Paul Cassirer, the leading German gallerist of the time, placed it immediately afterwards in his own traveling exhibition, which alerted the German public, art critics, historians, and contemporary painters alike to the achievement of an artist who was rapidly achieving legendary status.

Painters including Jackson Pollock (1912 — 56), Willem de Kooning (1904 — 97), Franz Kline (1910 — 62), Robert Motherwell (1915 — 91), Mark Rothko (1903 — 70), Barnett Newman (1905 — 70), Adolph Gottlieb (1903 — 74), Richard Pousette - Dart (1916 — 92), Clyfford Still (1904 — 80) and Lee Krasner (1908 — 84) saw the individual process of art - making as equal to or more important than the final result, and art critic Harold Rosenberg coined the phrase «action painting» to refer to this overriding significance of the act of painting.

I prefer the innocent reaction of those who might think that they see cloud shapes in my paintings to what [a critic] says that he sees in them.»

In the catalog essay «The Elbow and The Milky Way,» the critic John Yau writes of how Mr. Jensen's paintings «can not be seen all at once... [and] must be experienced both visually and physically.»

Larry Poons's lyrical color paintings were first exhibited at the Greene Gallery in 1962, where they left an immediate impression upon the artists, critics, and collectors who saw the show.

Hodgkin's incidental connection to the Bloomsbury set, reinforced by his own studio's Bloomsbury address, would later bring him grief at the hands of some critics, who wanted to see in his paintings an equivalent to the domestic designs produced for Fry's Omega Workshops.

The first exhibition failed to draw positive criticism, driving the artist to give up painting in 1921, but the second exhibition received strong support from critics, including Henry McBride of The New York Sun, who, admitting his own delay in recognizing Eilshemius» talent, wrote «Suddenly, like another St. Paul, I see a great light and the scales drop from my eyes.

Thus, we could see in Stamos's paintings of the 1960s — with their expanses of near - monochrome pigment and spare deployment of geometric shapes — an affinity with color - field canvases by Jules Olitski, Helen Frankenthaler, and other painters championed by the formalist critic Clement Greenberg.

A critic in Berlin praised Jack Tworkov for dispensing with ready - made premises and assumptions, seeing the world afresh, and painting what is «real.»

As objects, the paintings were flat and screen - like, and critics saw them as a calculated affront to the sensual paint handling of Willem de Kooning, the Abstract Expressionist who was then the senior figure of the New York School.

Pollock saw her work with critic Clement Greenberg in 1946 at Peggy Guggenheim's The Art of This Century Gallery and the next year Pollock began flinging and pouring paint.

And in the hey day of Modernism, critics like Clement Greenberg pursued a narrative which saw Modernist painting as a «peculiar form of tunnel vision leading away from pictorial depth and compositional complexity towards flatness, all - overness and the absence of association.»

In its first run, at the New Museum in Manhattan, Peyton's exhibition was packed; but it also attracted hostile reviews from critics who saw her paintings as shallow, celebrity - obsessed ephemera.

Many critics have somewhat misleadingly identified these darker paintings with Rothko's «dark side» and seen in them a symbol of the increasing depression of his last ears but this view is a simplistic categorization give in hindsight that misinterprets Rothko's original intentions.

«Your first reaction on seeing Robert Colescott's paintings is to laugh out loud,» wrote Washington Post art critic Paul Richard in 1988.

These works just didn't cohere, and most of Johns's work had been nothing if not coherent, sometimes internally so (e.g. the Targets, 1955 ---RRB-, and sometimes in conspiracy with the viewer (The Critic Sees, 1961, or Painting with Two Balls, 1960).

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

Some critics are quick to see the influence of Edward Hopper's Gas (1940) in Ruscha's 1963 oil painting, Standard Station, Amarillo, Texas.

Critic Dore Ashton, who visited the University of New Mexico in 1950, notes: «One of my enduring memories was seeing, for the first time, a painting by Richard Diebenkorn — a golden vision of the Southwest, abstract, with small currents of shadow drawing by the winds in the sands, and filled with the special light that still emanates from his paintings.»

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Butler writes that both shows» [suggest] that a renewed interest in traditional genres — portrait, still life, landscape — is thriving within the painting community... That galleries are positioning a new kind of painting to replace what they (and many critics) see as a tired form of abstraction is a salutary development and very different from the days when the objectness of Minimalism, performance, installation, and electronic media challenged painting.»

Instead of paying attention to the paintings on the walls, the powdered beaux and magnificently coiffed women saw the exhibition, critics complained, as one huge pick - up opportunity.

In past decades, of course, a divide was deep and intense, yet a handful of artists and critics, especially those interested in landscape painting, saw a productive union or practical non-differentiation in methods.

Beloved New York artist and critic Walter Robinson gained the notice of lifestyle maven Martha Stewart after she saw some of his paintings at Vito Schnabel «s gallery in St. Moritz, Switzerland's famous holiday resort.

[6] The show was well received by critics, including Frieze Magazine [14] and The Brooklyn Rail, noting «Quaytman makes reference in the title to both the seat of seeing (i am), and the classical meter of poetry», and «Quaytman's sophisticated dissection of the complexities of seeing and the manifold aspects that inform perception is evident not only in individual works, but also in the relationship between specific works installed in the exhibition, and in the cumulative effect of the whole,» [13] and the New York Times «The paintings in R. H. Quaytman's exhibition are cerebral, physically thought out and resolutely optical.

She called them Infinity Net paintings and they were a hit with smart young artists and critics like Donald Judd, who saw in them something new being forged from something old, high art being conflated with craft, masculinity with femininity, individuality with multiplicity.

Seen in light of the collage paintings, her earlier lettering foretells the obsessive grid by which critics would long judge her entire generation.

In the early 1950s, inspired by her friend Jackson Pollock (where she saw this staining effect in his work) and encouraged by critic Clement Greenberg (with whom she was having a relationship), Frankenthaler found her original voice by pouring paint onto unprimed canvases.

[9] Her visionary work, according to The New York Times art critic Roberta Smith, sees painting as multipurpose.

As Richard Dorment says in his review: «The phenomenon started in 1840 when John Ruskin, who was raised in the evangelical church, told readers of Modern Painters that Turner's pictures should be read as moral allegories — to which Turner replied that the critic «sees more in my pictures than I ever painted.»

So while critics gave these black paintings a lukewarm reception — Pollock, says Delahunty, was devastated — other artists took notes: «They were seen by Helen Frankenthaler, Frank Stella, Ad Reinhart, Robert Ryman, Morris Lewis, Kenneth Noland.»

115, No. 4 Bui, Phong «Artists to Artists», Volume 2, 25 Years of the Marie Walsh Sharpe Space Program Mason, Isabella «Katie Bell at Locust Projects, Miami», Blouin ArtInfo, Nov. 4th Kaiser - Schatzlein, Rob «Katie Bell's Miami Breakthrough», Two Coats of Paint, Sept. 23 Saltz, Jerry, «Never Has My Breath Been Taken Away Like It Was at Knockdown Center» Vulture, June 16 Final Fridays, Artist Interviews Podcast, Episode 17 2015 Namesake, «Namesakes: Katie Bell», Oct. 19 Montem Magazine, Issue # 5 (Tokyo, Japan) Pini, Gary, ’10 Must - See Art Shows Opening this Week», Paper Magazine, Sept. 23 Salama, Cecilia, «Artist Katie Bell Will Pull the Rug Out From Under You», Opening Ceremony Blog, Sept. 24 Johnson, Paddy, «This Weeks Must See Events: Butch Queens and Dykes in Brooklyn, Regular Queens Has Everything Else», Art F City, Sept 21 Butler, Sharon, «Revitalization by Contamination», Two Coats of Paint, Aug. 2 Mullis, Sidney, Maake Magazine, Featured Interview, Fall 2015 2014 BRIC Arts Media, «BRIC Biennial: Volume 1, Downtown Edition», Sept 20 (Exhibition Catalog) Steele, Marjorie, «Reconstructing History: Artists Create Community inside Site: Lab», The Rapidian, Sept. 21 Konau, Britta, «Gouge, Break, and Hammer», The Portland Phoenix, June 25 Eastabrooks, Erin, «The Home - Wrecker: Interview with Brooklyn Artist Katie Bell», SHK Magazine, May 19 Scott, Megan, «18 Under 37 ″, Knox Magazine, Spring 2014 Toomer, Helen, «How Art World Insiders Started Their Must - See Collections», Refinery 29, March 25 Galgiani, Allison, «Artist FlashCards: Why Katie Bell is Boss», Bushwick Daily, March 26 Kimball, Whitney, «Color Wheel: Katie Bell», Art F City, March 12 New American Paintings, # 110, Northeast Edition, March 2014 Bell, Katie, «IMG MGMT: Katie Bell, How We Met», Art F City, Jan 8 «The Form», Viewpoint Magazine UK, No. 33, p. 162-163 2013 Smyth, Cherry and Jost Münster, «Limber: Spatial Painting Practices», Sept. 13 (Exhibition catalog) Katz, Samantha, «Material», Gallery Glass, Episode17, Sept. 17 Steinhauer, Jillian, «Art Rx», Hyperallergic, Sept. 3 «Material», Time Out New York, August 27 Sculpture Center Tumblr, Featured Artist, «Katie Bell», April 22 Cole, Lori, «PAINT THINGS, Beyond the Stretcher», Critics» Picks, Art Forum, March 26 Johnson, Paddy, «8 Great Brooklyn Artists Under 30», The L Magazine, March 13 - 26, Vol.

Mr. Salle's mission in «How to See» is to seize art back from the sort of critics who treat each painting «as a position paper, with the artist cast as a kind of philosopher manqué.»