Sentences with phrase «generation artists giving»

Not exact matches

What a tribute to the great artist while giving a brand new tale for future generations of kids.

Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the art world at large, but also a generation of black artists working in performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in «the art world at large.

The work of these artists was brought into fresh focus and given renewed impetus by the revival of interest in figurative painting by a younger generation that took place in the late 1970s and the 1980s (see neo-expressionism and new spirit painting).

But due to this great prize artists of different generations have been given the opportunity to spend formative months exploring Italy; and the resources to create a major new commission that situates them on the world stage.

The Future Generation Art Prize is a biannual global contemporary art prize to discover, recognise and give long - term support to a future generation oGeneration Art Prize is a biannual global contemporary art prize to discover, recognise and give long - term support to a future generation ogeneration of artists.

For artists of Owens's generation (she's forty - seven), the easy back and forth between found and made forms, and between painting and printing, is a given.

Then he moved to New York where he influenced the younger generation of artists that would have then given birth to the American Abstract Expressionism.

By Richard Prince and the «Pictures generation,» ambivalence had given way to certainty — the certainty that the artist could wallow in bad jokes while deriding the audience for getting them.

Manifesting itself through panel discussions, books, periodicals and exhibitions, the platform gives a voice to a new generation of artists, writers, designers, engineers and activists.

The exhibition brings together a broad spectrum of leading artists, prompting thematic conversations across generations, between those who rose to prominence during the closing decades of the last century and younger artists who have found their voice in today's world, a place of incalculably more images, where distinct movements have given way to heterogeneity and the availability of and reliance on technology is taken as given.

Fifteen years on, fig - 2 gives this opportunity to a new generation of artists.

This lack of attention is strange, given how insanely influential the artist was to several generations of painters.

In November, when the German government gave Haus der Kunst $ 23 million for renovations, Enwezor said the funding «affirms and strengthens our core mission to serve old and new audiences, and provide them a lively forum and strong access for the encounter and appreciation of the art and ideas of different generations of contemporary artists.»

Perhaps this is not a surprise, given that a generation of artists weaned on the Internet is now coming of age.

AIM: To give long - term support to the next generation of leading artists.

It was during this period that established post-war masters gave way to a younger generation of contemporary artists, who rose to fame amid far - reaching changes in music, fashion and cinema.

Asserting presence may be a given for many, but for Binion, and other African American artists of his generation, the artist's presence and their experience was often defined by absence.

Given his spotlight - stealing video piece Re'Search Wait»S at the New Museum's 2009 inaugural «Younger Than Jesus» Triennial and his widespread critical acceptance as one of the most important artists of his generation, Ryan Trecartin seems to be a prudent choice for co-curating this year's Triennial «Surround Audience» alongside the Museum's in - house curator Lauren Cornell.

This stunning painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at ACA Gallery in 1940.

enjoyable, and give us a great insight into what the next generation of arts professionals find inspiring as they encounter art, artists and institutions within their city and from across the world.»

KSThat earlier generation of women artists was not given the option of being feminists — and, even later in life, many were not interested in embracing that identity when it was on offer.

This exhibition will give an American audience a rare opportunity to see new work by one of the most respected European artists of her generation.

«WE WANTED A REVOLUTION» AT THE BROOKLYN MUSEUM April 21 — September 17 — Prospect Heights «We Wanted a Revolution: Black Radical Women, 1965 — 85» is a groundbreaking show that gives an underrecognized generation of female artists and activists of color their due, including Emma Amos, Beverly Buchanan, Pat Davis, Lisa Jones, Samella Lewis, Lorna Simpson, Ming Smith, Carrie Mae Weems, and others.

«They're conceptual pieces in the sense that I gave them a set of instructions, you know, à la Sol LeWitt,» she explains, invoking the conceptual artist who famously left directions for future generations to recreate his oeuvre.

Succeeding generations of artists have generally given him (or Tom Thomson) the highest acclaim among Canadian painters (see Painting).

Cut and Paste presents generations of collage techniques to give greater scope to the methods artists develop in their own art practice.

Her request read, in part: «Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the art world at large, but also a generation of black artists working in performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in «the art world at large.

Wanted a Revolution: Black Radical Women, 1965 — 85» is a groundbreaking show that gives an underrecognized generation of female artists and activists of color their due.

This combination of gravitas and up - to - date engagement gave Steinberg a privileged position in the dialogue around the newest art, and he emerged as not only a witness but an important instigator in the transition from Abstract Expressionism (and Greenberg - ian strictures) to the next generation of artists, who were leaving behind painterly theatrics for the icier criticality of Pop.

An conceptualist who came up in the New York art scene alongside Jasper Johns, Warhol, Roy Lichtenstein, and the rest, Sturtevant moved to Paris around 1970 and took a decade - long sabbatical from making art; when she re-emerged, she found herself often lumped in with an entirely new generation of artists, giving her work a strange out - of - time quality.

In the spirit of Latham's belief in art as a continuous practice, while the main gallery will show a selection of Latham's one - second drawings (he discovered spray painting in 1954), scarified book sculptures, installations, public art projects and filmed performances, the Sackler will be given over to a generation of younger artists whose work was made with an affinity for Latham's philosophy and practice.

The ambitious programming and significant audience reception at both spaces insist on an ethic that has sustained New York for generations: within the given limitations of means and scale, artists need to continue to make their work, and their work needs to be seen.

The Future Generation Art Prize is a worldwide contemporary art prize to discover, recognize and give long - term support to a future generation oGeneration Art Prize is a worldwide contemporary art prize to discover, recognize and give long - term support to a future generation ogeneration of artists.

The exhibition brings four artists together, who belong to the «classical» generation that gave direction to American art from the mid-sixties.

«Hail We Now Sing Joy gives visitors the unique opportunity to see a significant body of work from one of the current generation's most celebrated artists.»

Combined with the political and social unrest that brought the decade to a close, and its artistic upheaval, this newly immersive visual culture gave the artists who would form the Pictures Generation a unique set of formative experiences.

During the 1960s and 1970s, a generation of artists emerged with a self - described critical task: to engage with and reveal the power structures and ideological imperatives implicit in any given cultural situation in the belief that doing so could create viable alternatives for living and art - making alike.

He told the Chicago Tribune, «My goal for the Year of Public Art was to bring the most prominent artist in the world to Chicago and give the city a gift for generations to come, with the Cultural Center serving as its campus.»

«This process of artist support is a form of giving we are hoping to foster and grow in order to continue Chesterwood's contemporary sculpture exhibition for many generations to come,» said Executive Director Donna Hassler.

Given its resonance with artists of recent generations, this genre of work has become an increasingly integral component of strategies surrounding collections of contemporary art.

The title of the show can be translated as «struggles against delineation,» which seems appropriate given that the works on view are made from a variety of mediums and by artists of varying generations.

The late artists Fanizani Akuda and Colleen Madamombe, of whom pieces are included, belong to the 1950's generation who gave birth to Zimbabwe's serpentine stone sculptural movement.

Efforts through the early and mid 1990s were concentrated on anticipating trends, spotting latent talent and giving a much - needed platform to many previously unknown talents (Subodh Gupta - Group Show (1991) Solo Show (1993); Ashim Purkayasta - Young Contemporaries (1995), Solo Show (1999)- some artists who today rank amongst the most prolific of the younger generation.

Given that the jacket is emptied of its signature occupant, it may be viewed as both nostalgic and critical, mirroring the views of the artist and many Chinese of his generation.

Christian Marclay's experimental work with sound, video, and film has been extremely influential on a younger generation of artists for whom the idea of digital sampling and mixing recordings is now a given.

It also gave rise to an entirely new and radical artistic vernacular, which was to provide inspiration for generations of artists to come, from Minimalism to Conceptualism.

In doing so he also gave the next generations of artists permission to define what abstract expressionism means to them.

Whether or not we want to persist in calling the work of younger generations and non-Western artists «postminimalist» (small «p» when not referring to the original movement) is a worthy debate, given that it is now some fifty years since the term was first coined by the art critic Robert Pincus Witten for a generation of artists largely centered in New York.

In this respect, she says, the artists «gave a voice to generations of women across Latin America and the United States.»

It embraces few generations of artists working in the country, without accentuating any particular medium the show gives space to wide range of practices.