As visitors to his full - dress, full - floor Whitney retrospective will perceive from the moment they get off the elevator and are confronted by the mural - length 1999 painting Das Erdbeben in Chili [M # 3], the 79 - year - old artist has evolved to embrace riotous colors, unwieldy materials, and explosive forms in his recent work —
even as younger artists with an interest in abstraction obsess over the rigorous formalism of his early years and pore over the compositional strategies in his 1986 book Working Space.
Although still anchored in representation, Brett moved
even as a young artist toward boldly graphic, rhythmic compositions that verged on the abstract.
His photographs were always anchored in representation and straight photography, but
even as a young artist he moved toward boldly graphic, rhythmic compositions that verged on the abstract.
Not exact matches
An example would be the fictional sermon on hell that James Joyce recounts in his Portrait of the
Artist as a
Young Man This kind of preaching fosters an image of God
as an unloving and cruel tyrant, and in some cases leads to a complete denial of hell or
even to atheism.
Indicative of Brewer's own interests
as a
young white
artist in tune with black culture, it's an overarching melting - pot approach, and it somehow works,
even if it kowtows to the unspoken Hollywood rule that the color not apply to the marquee characters or their families.
One of the films that didn't blow us away at Sundance, but offered a solid film full of jokes made just for cinephiles, was In a World... The film directed by actress Lake Bell follows a
young female voice coach (Bell)
as she joins the all - male race to land the white - hot new trailer of a blockbuster trilogy, and with it lay claim to the legendary trailer catchphrase «In a world...» She faces stuffy, douchebag competition in Ken Marino and
even her own father (Fred Melamed), a legendary voice - over
artist who can't bring himself to recognize his daughter's talent.
The story is about their relationship — how a washed - up old comedian takes a despairing
young performer under his wing and gives her the confidence to become a great
artist,
even as his own career fades into irrelevance.
Desdemona Hart used to be a promising
young artist who
even made it so far
as to study in Paris.
Even as he appeared to thrive in a milieu of experimentation and even as critics took note of a young artist of witty and outrageous imagination, Dine inwardly resisted the acclaim that was all too quickly coming his
Even as he appeared to thrive in a milieu of experimentation and
even as critics took note of a young artist of witty and outrageous imagination, Dine inwardly resisted the acclaim that was all too quickly coming his
even as critics took note of a
young artist of witty and outrageous imagination, Dine inwardly resisted the acclaim that was all too quickly coming his way.
Much has been made of the fact that the
young Israeli
artist Guy Yanai uses painting — an ancient, laborious technique —
as his medium,
even as he embraces the digital and new media norms of today (
even going so far
as to reference pixelation in his technique, with short, deliberate bands of color).
Tellingly,
even though emerging art has been discounted
as an asset class (astoundingly, by Art Basel's director Marc Spiegler, who recently said of it: «When it goes illiquid, it goes totally illiquid»), I noticed several hopefuls carrying a list of the
young artists / collectives tapped for the forthcoming Whitney Biennial, chief among them Sky Hopinka, Park McArthur, Torey Thornton, Puppies Puppies and Porpentine Charity Heartscape.
Even though newcomer
artists and
young professionals do create hype in certain neighborhoods, the expulsion of longtime residents is a result of (international) property speculation and its subsequent utility
as a tradable asset for securitizing debt — financial capitalism.
The interdependence is
even greater now,
as outsiders quote European painting and
young artists, such
as Amy Wilson or Paul Chan, borrow from Henry Darger.
There is surely a jaded brand of cynicism at play here, surprising in an
artist as young as Singer, but
even more, these gestures indicate a critical self - awareness that is a much - needed antidote to the powers and hubris of an inflated art market and a faith in seemingly bigger, better art spectacles.
Even as Painters Eleven was breaking up, their example was important to a strong and energetic group of
young artists centered on Av Isaacs» gallery.
Even as recent years have seen a return to a focus on craft and the object and, sometimes, beauty, it seems that the ultimate triumph of Conceptualism has come in the form of
younger generations who embrace the
artist's role
as that of universal creator.
But
even as Hoyland internalised the Greenbergian dogma of flatness, the painter's deviations from it are precisely what makes the
young British
artist's canvases so interesting.
Overseeing these venues is a motley generation of «starving dealers,»
as one of their number wryly put it:
young artists, newly arrived wannabe dealers, former gallery directors and
even former gallery owners forced to close down larger - scale businesses.
Andy Warhol always made himself available and accessible to
younger emerging
artists, and in the vibrant New York art scene of the 1980s, Jean - Michel Basquiat and Francesco Clemente forged particularly close friendships with Warhol —
even becoming something of a triumvirate,
as this new publication on the three
artists shows.
In fact, at the time I didn't
even refer to it
as a performance — a word used so unhesitatingly by
young artists today — since my generation were against the term, in France at least.
Christopher Burge, Christie's auctioneer, described the sale afterwards
as «really extraordinary» and «a triumphant vindication» of the auction house's decision to offer works by
younger artists many of which are not
even a decade old.
But anger,
even among
young artists, at what is seen as the prize's narrowness has reached a peak since Serota's hint last year of a shift away from the dominant group of Young British Artists failed to materia
young artists, at what is seen as the prize's narrowness has reached a peak since Serota's hint last year of a shift away from the dominant group of Young British Artists failed to mater
artists, at what is seen
as the prize's narrowness has reached a peak since Serota's hint last year of a shift away from the dominant group of
Young British Artists failed to materia
Young British
Artists failed to mater
Artists failed to materialise.
This separation between African
artists who have either lived or travelled to European countries throughout their working lives and the bitter past history of this vast continent is what renders the artistic production of both older and
younger artists absolutely crucial to the social dynamics of the contemporary age
as an overwhelming sense of wisdom emanates from
even the
youngest artists included in the fair.
Even in Péladan's time two schools of thought existed,
artists such
as Jean - Auguste - Dominique Ingres thought, «To create a work of art one must have a certain elevation of soul and faith in God,» 1 while Gustave Courbet discouraged
young painters from using mystical, religious, and Christian subject matter, advocating that painting should represent what the
artists can observe, not the invisible and nonexistent.
Even as a
young unknown
artist, he was deeply interested in experimentation, especially with novel media.
He's used his «juice,»
as Parazette calls it, to support a number of
younger Houston
artists, mounting shows of their work in New York and Miami at his own expense -
even taking out full - page ads in Artforum.
In each case,
as with the
younger generation, all the
artists shared an interest in exploring the nature of perception,
even as they used diverse means to do so.
As night fell, Victoria Miro opened a second gallery, in Mayfair, with a show of «infinity net» works by Yayoi Kusama, and the David Roberts Foundation cleared its block - long building for the swarm of
young people who showed up for an
evening of performances by
artists who included the collaborating Rodney Graham and Kim Gordon.
The exhibition will serve
as both introduction and retrospective for one of the Bay Area's most exciting
young artists, and one who has already grown, changed, and built upon his unique style,
even in the last few months.
As the
evening drew to a close, Hans Ulrich Obrist asked the duo to offer some words or wisdom for
young artists.
The individuality of their work makes it impossible to brand this generation of
young artists as a movement,
even though many of the
artists know and support each other.
Furthermore,
even if most of his landscapes do have an Irish flavour, they fall squarely within the European plein - air painting tradition of the likes of Nathaniel Hone the
Younger (1831 - 1917), Augustus Nicholas Burke (1838 - 91), Frank O'Meara (1853 - 88), Roderic O'Conor (1861 - 1940), Walter Osborne (1859 - 1903) and John Lavery (1856 - 1941),
as well
as Newlyn
artists Stanhope Forbes (1857 - 1947) and Norman Garstin (1847 - 1926), to name but a few.
I am also thinking of
artists from the
younger generation like Chris Martin, who is making paintings with all kinds of materials such
as used carpets, records, pillows,
even food, and so on.