Sentences with phrase «from other artists of his generation»

Over the next decade, Motherwell's production of large - scale collages even outpaced his creation of paintings; his enthusiasm for and dedication to the collage technique for the remainder of his career sets Motherwell apart from other artists of his generation.

Not exact matches

Delete emails from studios begging to sign the most successful independent artist of this generation and most others?

Starring Daniel Radcliffe, Dane DeHaan, Ben Foster, Michael C. Hall, Jack Huston and others, our own reviewer found the film «fairly interesting and relatively compelling, but far from an enlightening or deep story into the hearts and minds of these artists who would define a generation.»

Calligraphy, miniature painting, Sufi mysticism, and other traditions are the starting point for a new generation of artists from the Islamic world who are using the language of contemporary art to inflect their work with multiple layers of meaning.

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

Over dinner with Smith and others from the museum, she talked about a followup to her previous book, The Wild Wild East, that she was researching, about the new generation of Chinese artists.

Yoshitomo Nara and the Tokyo Pop art movement reflect the experiences of a generation of artists who grew up during the post-World War II economic boom in Japan that was characterized by, among other things, an influx of popular culture from the West, including the animation of Warner Bros and Walt Disney.

A great rendering of this period was the 2014 British Museum exhibition (Germany divided: Baselitz and his generation from the Duerckheim Collection), where, among other key post-war artists, Baselitz participated with eleven of his Heroes series and other iconic works of the late 1960s.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

To nearly everyone's surprise, Stella appreciated Hawkinson as someone who has inexplicably made memorable art from «gestures as lightweight, banal and self - absorbed» as those any other artist of his generation practice.

Others were «Take It or Leave It: Institution, Image, Ideology» at the Hammer Museum (2014), which surveyed the use of appropriation and institutional critique in art from the 1980s; and «Jack Goldstein X 10,000» at Orange County Museum of Art (2012) which was a retrospective on the artist who helped initiate an avant - garde art movement referred to as the «Pictures Generation.»

2005 The Last Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for Contemporary Art, Long Island City, New York, USA The Disasters of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art of Aggression: Iraqi Stories and Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals Contemporary Arts Center, Buffalo, New York, USA 150 artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner Contemporary Art, Washington, USA 2001 How is everything?

LeWitt, like no other artist of his generation, has always maintained the importance of the concept or idea and, apart from his original works on paper, the work is executed by others to clear and strict instructions.

It examines not only the complex aesthetics and personal styles of Golub and his compatriots — including Cosmo Campoli, June Leaf, Dominick Di Meo, Seymour Rosofsky, and Nancy Spero, among others — but also uncovers the Monster Roster's relationships with preceding generations of Chicago artists and differences from the well - known Chicago Imagists who followed.

Significant exhibitions include: Andy Warhol's Campbell's Soup Boxes in December 1986, just weeks before the artist's untimely death; She: Works by Richard Prince and Wallace Berman, brought together, for the first time, two generations of leading artists from different coasts; Bruce Conner: Work from the 1970s, which inspired the artist's first solo retrospective in Europe at the Kunsthalle Wien and Kunsthalle Zurich (2010); other shows of important New York - based artists have included new works by Christopher Wool, Richard Tuttle, Mark Tansey, Kenny Scharf, and Keith Haring.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human legs.

A roundtable discussion with artists a generation or two removed from those featured in Other Primary Structures, whose work — primarily in sculpture — comes out of a Minimalist tradition.

She will also contextualize Frankenthaler's practice with that of other artists of her generation on view in the PMA's galleries, ranging from Anthony Caro and Louise Nevelson to Lois Dodd and Alex Katz.

Surprise and humor often distinguish his art from a more severe and programmatic approach taken by other artists of his generation.

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the socalled Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

Ochoa's work has also been included in a host of group exhibitions, most notably, Down These Mean Streets, Smithsonian American Art Museum, Washington D.C. (2017); 99 cents or Less, Museum of Contemporary Art, Detroit, MI (2017); Mi Tierra, Denver Art Museum, Denver, CO (2017); Routes of Influence, Perez Art Museum, Miami, FL (2016); Apparition: Frottages and Rubbings from 1860 to Now, Hammer Museum, Los Angeles, CA and Menil Collection, Houston, TX (2015); X-Change, Nasher Sculpture Center, Dallas, TX (2013); The Future Generation Art Prize Exhibition, Venice, Italy (2011); The Artist's Museum: Los Angeles Artists 1980 - 2010, Museum of Contemporary, Los Angeles, CA (2010); Phantom Sighting, LACMA, Los Angeles, CA (2008); and the 2008 Whitney Biennial, New York, NY amongst others.

In this regard, Newman stood apart from the other abstract artists of his generation.

The 21 artists on show this year in Venice, chosen from amongst 4,500 entries, include among others the winner of the $ 100,000 Future Generation Art Prize 2017, the South African artist Dineo Seshee Bopape, and the winner of the $ 20,000 Special Prize, Kenyan / British artist Phoebe Boswell.

Language, broadly speaking, has long been a central concern for many black contemporary artists — Glenn Ligon, Pope.L, Lorna Simpson and Carrie Mae Weems come to mind — but this younger generation draws inspiration directly from literary sources: the poetry of Amiri Baraka, Tisa Bryant, Moten, Harryette Mullen, Claudia Rankine and others.

In this exhibition we present a selection of these works, together with works from other Norwegian collections, in an exhibition that reviews Kitaj's contribution as a historical artist, but also as one whose works still resonate with those of younger generations of artists.

Women House's 39 artists come from four continents; they span from historic figures such as Claude Cahun to a young generation: Mexican artist Pia Camil, Iranian Nazgol Ansarinia, Portuguese Joana Vasconcelos, German Isa Melsheimer or the French Laure Tixierand Elsa Sahal... Some of the names are already famous (Louise Bourgeois, Niki de Saint Phalle, Martha Rosler, Mona Hatoum, Cindy Sherman, Rachel Whiteread), others are the subject of recent rediscoveries connected to a rereading of the History of Art in terms of gender parity (Birgit Jürgenssen, Ana Vieira, Laetitia Parente, Heidi Bucher).

These trends and traditions continue today with a new generation of artists, both those from Santa Fe as well as others drawn to the city's creative vibe.

Sonnier's sustained use of neon distinguished him from other early adopters of the medium and has been deeply influential to subsequent generations of artists.

Since its publication, a whole new generation of painters has emerged, some inspired by the artists who appeared in that book, others taking cues from new sources.

Uncertain States offers an expanded look at a series of major installations by an emerging generation of artists whose source material derives from a media - saturated world and a canny knowledge of new art - historical references (from Richard Prince and Christopher Wool, among others) in an age of political dissonance and free - form use of material innovations and juxtapositions.

It is in the painting itself that Burckhardt, who was born in 1964, distinguishes himself from other abstract artists of his generation.

Represent culminates with a wide - ranging array of portraits created by several generations of artists, from those active over a century ago to those making work today, as well as audio excerpts of interviews with contemporary artists Moe Brooker, Barkley L. Hendricks, Odili Donald Odita, Joyce J. Scott, and others.

The key factor that sets this show apart from other group exhibitions, is that this show is a complete curatorial project comprised of artists who have established new directions in art and already inspired a generation of upcoming artists.

Rather, it is placed in the context of works by a diverse array of artists that includes Sherrie Levine, Barbara Kruger, Lari Pittman, Nam June Paik, Jean - Michel Basquiat, Charles Ray, Sarah Charlesworth and Jasper Johns (some hailing from the Pictures Generation, others definitely not), a curatorial move that embeds Koons's Neo-Dada roots within a specific set of precepts that flow forward and backward in time.

Women House's 39 artists come from four continents; they span from historic figures such as Claude Cahun to a young generation: Mexican artist Pia Camil, Iranian Nazgol Ansarinia, Portuguese Joana Vasconcelos, German Isa Melsheimer or the French Laure Tixier and Elsa Sahal... Some of the names are already famous (Louise Bourgeois, Niki de Saint Phalle, Martha Rosler, Mona Hatoum, Cindy Sherman, Rachel Whiteread), others are the subject of recent rediscoveries connected to a rereading of the History of Art in terms of gender parity (Birgit Jürgenssen, Ana Vieira, Laetitia Parente, Heidi Bucher).

Born in Newcastle and trained at the Glasgow School of Art, Murphy's concerns are a world away from the post-internet, conceptual or political focus of other artists of his generation.

Fischli focused on the creative processes of two characteristic representatives of Swiss art: one a celebrated and pivotal master of the transition to Modernism, the other an artist from the post-war generation who brought new ideas to bear following the end of a Modernism become classical.

His distinct perspective is what makes his work so noteworthy and over three decades later, his photos still resonate with the contemporary generation of artists, as evidenced by the contributions from Wes Anderson and other art world creators, each of whom command their own chapters of the new body of work.

Belonging to the generation that produced Abstract Expressionism (he was arguably the first champion of Jackson Pollock), Greenberg saw in that artist's personal tragedy a metaphor for the disasters of American life and art, in which people were alienated from real culture, were being forced to live off kitsch culture («one of faked sensations»... «because it was turned out mechanically») and he was resigned to the fact that at the other extreme, the so called avant - garde had taken off in another direction which was producing art for art's sake for themselves and the cultural elite.

Though he rose to prominence through a proliferation of murals and other uncommissioned public art projects from his native Italy to China and North Africa, since 2007 RUN has made his home London, where, like many artists of his generation and background, he's been steadily working to manifest his vision in a proper studio practice, bringing it, so to speak, in off the street.

Since emerging from the Glasgow art scene in the early 1990s, Simon Starling (British, b. 1967) has established himself as one of the leading artists of his generation, working in a wide variety of media (film, installation, photography) to interrogate the histories of art and design, scientific discoveries, and global economic and ecological issues, among other subjects.

In 2009, Kruger's postmodernist art was included in the important «Pictures Generation» exhibition at the Metropolitan Museum of Art, New York, along with works by other postmodernist artists of the 1980s involved in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952).

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the so - called Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

Among the artists who attract the interests of other artists (particularly from the newest generation), Peter Saul is one of the most magnetizing.

Other notable artists from the second generation of color field painters include Kenneth Noland, Jules Olitski, Alma Thomas and Sam Gilliam among others.

The Vilardell Collection comprises works by artists from a wide span of generations, from Antoni Tápies, Louise Bourgeois and Sigmar Polke to others who are still relatively unknown and, in a few cases, anonymous.

Clough is associated with the Pictures Generation, a loosely knit group of artists that includes Longo, John Baldessari, Mike Bildo, Sherrie Levine, Cindy Sherman, and many others, who, in the late 1970s and early 1980s, appropriated, manipulated, and recontextualized familiar imagery from consumer culture and art history.

In 1959, he painted Tomlinson Park, part of the Black Paintings series that catapulted his career when he was just 23 years old and influenced other artists of his generation to move away from abstract expressionism and create work that was more painterly, more thoughtful and more experimental in terms of the use of space in and around the canvas.

However, from there came forth photographic and textual - based works, which of course gave rise to the first generation of conceptual artists like Lawrence Weiner, Joseph Kosuth, and a few other

7, 2015) that presents Lawrence's paintings in context with interpretations of the mass migration from the rural South to the urban North by other artists spanning generations and discplines, including literature, poetry, film and music.