Sentences with phrase «generation artists like»

I do subscribe to his observation that Drexler's «figures lifted from news photographs and isolated on flat, gridded, Mondrianesque backgrounds anticipate the cool Neo-Pop of Pictures Generation artists like Robert Longo and Sarah Charlesworth.»

The subject of a 2009 show at the Metropolitan Museum of Art in New York, Pictures Generation artists like Richard Prince and Barbara Kruger are known for using appropriation strategies and wrestling with the rise of mass media such as television in their work.

We've seen this overlap over the last several decades, especially with the inclusion of type and commercial elements (think pop artists Andy Warhol and Roy Lichtenstein and later picture generation artists like Barbara Kruger).

We had one room that was Pictures Generation artists like Robert Longo, a Jean - Michel Basquiat and Keith Haring room, photography rooms.

In much the same way the Pictures Generation had to deal with figures like Warhol, said Hal Foster, a critic and Princeton professor: «Wade's generation has to deal with Pictures Generation artists like Cindy Sherman, Richard Prince and Jeff Koons.

Not exact matches

Thirty years after his death, Joseph Beuys still feels like a visionary and is widely considered one of the most influential artists of his generation.

His arrival with films like The Living End and The Doom Generation signalled a voice synonymous with the New Queer Cinema movement of the early 1990s that saw gay stories told by gay artists.

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

Beuys (2017 — Germany) Thirty years after his death, Joseph Beuys still feels like a visionary and is widely considered one of the most influential artists of his generation.

Disc 1: Rise of the Planet of the Apes Blu - ray ** 11 Deleted Scenes ** The Genius of Andy Serkis ** Scene Breakdown ** A New Generation of Apes ** Breaking Motion Capture Boundaries ** The Great Apes ** Mythology of the Apes ** Composing the Score with Patrick Doyle ** Audio Commentaries by Director and Writers ** Character Concept Art Gallery ** Digital Disc 2: Dawn of the Planet of the Apes Blu - ray ** Journey to Dawn ** Andy Serkis: Rediscovering Caesar ** Humans and Apes: The Cast of Dawn ** The World of Dawn ** The Ape Community ** Move Like an Ape: An Artist's Medium ** Weta and Dawn ** The Fight for a New Dawn ** Deleted Scenes With Optional Audio Commentary by Matt Reeves ** Feature Audio Commentary by Matt Reeves ** Gallery ** Digital Disc 3: War for the Planet of the Apes Blu - ray ** Audio Commentary by Director Matt Reeves ** Deleted Scenes with Optional Audio Commentary by Director Matt Reeves ** Waging War for the Planet of the Apes ** All About Caesar ** WETA: Pushing Boundaries ** Music for Apes ** Apes: The Meaning of It All ** The Apes Saga: An Homage ** Concept Art Gallery ** Theatrical Trailers ** Digital

With the help of computer generation, artists have created fantasy worlds in movies like Shrek, Monsters Inc., and Dinosaur.

«The Square» This was a peculiar year at the Cannes Film Festival, as a generation of filmmakers who follow in the footsteps of Michael Haneke and his austere brand of social critique managed to outshine the artist who inspired them: Yorgos Lanthimos» «The Killing a Sacred Deer,» Andrey Zvyagintsev's «Loveless» and this sprawling Palme d'Or winner from Swedish director Ruben Ostlund were each fresh provocations, while Haneke's «Happy End» felt like a worn - out greatest - hits record.

Showcases Beat generation writers and artists like Allen Ginsberg and Neal Cassady and their «Bop Spontaneous Prose.»

Skoda revealed the first official sketch of the next generation Fabia last week, and the image you see here is an accurate representation of what the production car would look like, rendered by our artist, Shoeb.

«Twenty years from now, when a new generation of more tolerant and inclusive artists finds themselves in the position to organize events like this, let's not be dicks like our forefathers... There's room enough for everyone.

So I'd like to propose a bit of a promise to our future selves: Twenty years from now, when a new generation of more tolerant and inclusive artists finds themselves in the position to organize events like this, let's not be dicks like our forefathers.

Even as one very visible portion of the art world becomes ever more soaked in money, artists like Steiner are picking up the ideas of first - and second - generation institutional critique and adapting them to the needs of the present.

It includes works by artists like Tom of Finland, Albert Oehlen, Jeff Koons, and Martin Kippenberger — most of whom are of Taschen's own generation and count as personal friends.

In most cases the women artists had accompanied their significant others, while like the generation before them, the Afro - American artists, sought to escape the racism that was endemic in the States.»

While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities.

Tino Sehgal is not like other artists of his generation.

More gentle artists like [Richard] Pousette - Dart or John Ferren of that generation were never as well known as the kind of the primary six — Motherwell, Rothko, etc..»

Along with artists like Kelley Walker (a friend with whom he often collaborates), Seth Price and Tauba Auerbach, Mr. Guyton is at the forefront of a generation that has been reconsidering both appropriation and abstract art through the 21st - century lens of technology.

During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.

KAARI UPSON At 45, this intrepid Californian is looking more and more like the most psychologically incisive artist of her generation.

Like many artists of her generation, Frankenthaler came to the art of printmaking reluctantly.

Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis esthetically aligned with that generation's point of view; that started out as Abstract Expressionists but quickly moved to Post-Painterly Abstraction.

Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces — like P.S. 1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and others.

«The Figurative Artist's Handbook... is a very beautiful book to look through, so it may be challenging for those who use it as a handbook to let it get dirty and dog - eared, just like the previous generation did with their [Andrew] Loomis books.

«I wouldn't have bothered becoming an artist if I didn't like the artists of that generation so much,» he tells me.

In groundbreaking works from the 1970s like Mary Kelly's Post-Partum Document (1973 — 79) and Martha Rosler's Semiotics of the Kitchen (1975), the tenets of conceptual art — with its integration of language and image, its embrace of photography and the video camera, and its unfolding over time and space — are enmeshed with questions of subjectivity, the body, and indeed, emotional affect, subjects generally avoided by an earlier generation of conceptual artists.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

His early works were inspired by the Abstract Expressionists he encountered in New York, Stella later commenting: «I wouldn't have bothered becoming an artist if I didn't like the artists of that generation so much.»

They are joined by established and internationally - recognized artists, including Guillermo Kuitca, Richard Long, Malcolm Morley, Evan Penny, William Wegman and Not Vital, as well as a younger generation of artists like Bertozzi & Casoni, Wim Delvoye, Kim Dingle, Charles LeDray, Tom Sachs, Jan Worst and Liu Ye.

«I feel like a lackey of the contemporary art establishment forced to repeatedly apologise to my board for failing to beat the Chisenhale Gallery in showcasing an entire younger generation of post-Internet artists who jokily yet unnervingly use a cut - and - paste, horizontally - dispersed aesthetic in a dilettante fashion.»

It features key examples of the technique by artists from various periods and regions, from historical figures like the Czech surrealists Jindřich Štýrský and Toyen, to post — World War II artists such as Alighiero Boetti and Roy Lichtenstein, to contemporary artists of different generations, including Anna Barriball, Jennifer Bornstein, Morgan Fisher, Simryn Gill, Matt Mullican, Ruben Ochoa, Gabriel Orozco, and Jack Whitten.

By the 1960s, masterworks at MoMA like «Les Demoiselles d'Avignon,» «Girl Before a Mirror» and «Guernica» had so permeated American culture that, to the next generation of artists, they looked about as avant - garde as «Whistler's Mother,» «American Gothic» and «Christina's World.»

Gathered in laboratory - like settings of ateliers and arts academies across Europe and the Americas, such figurative models demonstrate the standards of excellence according to which generations of artists learn the classical idioms of beauty and perfection.

It's been left to younger artists like Swanson to decipher and reinterpret the stories and images of that elder generation.

Carter's art reexamines itself through trial - and - error combinations; Butler's article connects this generation's preoccupation with experimental processes and materials to familiar 20th - century artists like Rauschenberg.

It's going to be a sort of survey show, gathering works of established / passed artists like Louise Bourgeois, Dorothea Tanning, Mona Hatoum... and a younger generation of artists: Caitlin Keogh, Loie Hollowell, Sascha Braunig...

He is part of a generation of artists who gained prominence when abstract expressionism's specter remained strong; several of its leading figures — like Still, De Kooning, and Motherwell — were alive and making important work.

By presenting the public with such notions, Abramovic became arguably the most important member of the generation of pioneering performance artists that includes the likes of Bruce Nauman, Vito Acconci and Chris Burden.

In Art in America this month Raphael Rubinstein, after reading issues of AiA from thirty years ago, considers the fate of Neo-Expressionism, a movement popular in the 1980s championed by painters such as Sandro Chia, Enzo Cucchi, Francesco Clemente, Markus Lüpertz, and Julian Schnabel that was ultimately overshadowed by the more cerebral work created by artists like Jenny Holzer, Sherry Levine, and Richard Prince — what we now call «The Pictures Generation.»

Like her husband, Gwendolyn Knight preferred creating figural compositions rather than the Abstract Expressionist paintings that other artists of her generation embraced.

But this divide is often exaggerated: I can imagine painters like Mr. Schnabel and Mr. Fischl thinking, if the Conceptual and performance artists, and their Pictures Generation progeny, can use figures and tell stories, we can, too.

It represents established artists like Ellsworth Kelly and Jasper Johns and a younger generation of artists like Robert Gober and Nan Goldin.

Like all American artists of his generation, Nauman spent his formative years surrounded by the political clashes over the war in Vietnam, the Civil Rights Movement (particularly the race riots in American cities) and what was back then called the Women's Movement.

For another, at 30 years old, he's a generation or two younger than the influential artists — like John Armleder, Olivier Mosset, or Fischli / Weiss — that the space has often shown.

The most poignant tributes continue the work of artists who, in a kinder world, might have lived to see the results — like Sarah Charlesworth, a veteran of the «Pictures generation» who died in 2013.