Sentences with phrase «generation of artists around»

The gallery ethos remains consistent: to promote great and innovative artists and to nurture the best talent from the new generation of artists around the world.

Never before have we seen a private collection that shows the «before and after» of Arte Povera in such depth — its roots in Burri and its huge legacy to succeeding generations of artists around the world, from Cy Twombly and Anish Kapoor to Thomas Schütte and Olafur Eliasson.

Not exact matches

The program has championed the unique visions of a next generation of feature filmmakers from around the world, and has become an international model for supporting artists.

by Jill Andreasen and Wendy Rancier, Collection Development Librarians It's clear that authors, artists, and creators in the children's publishing world feel a responsibility, an urgency, to raise a level of empathy and awareness in the newest generation around many issues our country is facing.

Responding to «the generalization of the political» at the 1993 Whitney Biennial, Meyer gathered together an emerging generation of artists engaged in critical practices around institutions, including, but not limited to, museums.

Partially in response to an exhibition at the Jewish Museum, Artists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytArtists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytartists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mythology.

By this time, Tworkov had become one of the most respected artists of his generation and his presence at art schools around the globe was in high demand.

Our ambition is to build a greater body of knowledge around each of the artists with whom we work to ensure the legacy of their practices for future generations of researchers and audiences.

Bringing together a new generation of artists interested in Thomas Bayrle's legacy, this panel will look at how younger voices take up questions around corporate production, political spectacle, digital...

That Kelley recognized the importance of what George Eliot called «unhistoric acts,» that he knew there was a world outside of celebrity and wealth and museum retrospectives and that it was big and interesting even if it went largely unmentioned, made him the kind of artist who comes around maybe once in a generation.

Redolent of everyday devices in certain communities and populations such as a hut or a wheel, the artist focuses not just on ideas around personal or interpersonal identity, but he also emphasizes on how memory can be the vehicle for transmitting certain typologies of quotidian practices from generation to generation.

Starting around 1970, this movement has been revived by a new generation of artists born during or immediately after the Second World War.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

Yet, this present bedazzlement with pixels was already anticipated around forty years ago by the loosely affiliated group of artists described as the Pictures Generation.

It has been a great honour to have been able to select with the family, museum quality works by the artist, to show London and, by doing so, to have the opportunity to expose his work to a new generation of collectors, further strengthening awareness of Chillida's work around the world» Chillida considered his relentless search for the unknown in art to be an adventure in learning, and his sculptural study of temporal and spatial relationships have transformed the field of sculpture; he is hugely respected by many artists working today including Sir Anthony Caro, David Hockney, Ellsworth Kelly and Richard Serra.

I would argue that this portrait of a young Kellie Jones points to the extensive creative dialogues to come between this exhibition — the most significant and informed contribution to debates around black art to date — and a new generation of UK artists.

It proposes that artists» declarations are especially crucial during this intense period of change in the U.S. Emphasizing new work by artists based in Richmond and around the globe, it deliberately mixes work by artists of varied generations, backgrounds and perspectives.

As a new generation of Southern makers explores the joy of creating, this exhibition celebrates the artists who have lived in our midst, inspired by their life experiences, their faith, their communities, and the landscape around them.

Over the years Ron's interest in art has increasingly focused on the next generation of emerging artists from around the globe.

Stan Douglas, born in Vancouver in 1960, is among a younger generation of artists that has come of age artistically around figures like Jeff Wall and Rodney Graham.

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.

The New Museum Triennial is the only recurring international exhibition in New York City devoted to emerging artists from around the world, providing an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture.

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.

It had a profound impact on artists around the world, from Cy Twombly and Anish Kapoor, to Damien Hirst and Tracey Emin, as well as on a younger generation of Italian artists like Maurizio Cattelan, who decided to make art after seeing a mirror self - portrait by the Arte Povera artist Michelangelo Pistoletto.

I thought that maybe it would be like it was in the past, that each generation of artists would create their own unique platform, and that new galleries would form around each cohort, but that hasn't happened.

Overall, Painting / Light / Space shifts the conversation around Pousette - Dart away from his canonization as major figure of the New York School towards an investigation of his role as a maverick and a mentor for new generations of artists.

It is the only recurring international exhibition in New York City devoted to emerging artists from around the world, providing an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture.

This young generation of artists investigates the «fourth wave of feminism» by producing works that focus on the representation of the female body and identity within the virtual and the everyday; taking charge of their own portrayal and challenging the discourse around ownership the male gaze is averted.

His work remains of great importance to subsequent generations of artists and is held in major public collections around the world.

Distinguished faculty members are internationally recognized in their respective fields, contribute significantly to the stature of VCU, and are committed to mentoring the next generation of artists, entrepreneurs, scientists, scholars, and engaged citizens of diverse communities around the world.

Since the 1990s Tal R, as one of the most striking artists of his generation, has exhibited all around the world, particularly in Europe, and his art appears in many central collections.

Michael Rosenfeld: It's a remarkably small group of African American artists, who chose the path of abstraction from that generation that was born around the turn of the century.

One of the most significant artists of his generation, Sigmar Polke came of age creatively in Dusseldorf around 1963.

How do you relate to other mid-career artists of your generation, like Yoshitomo Nara and The Group 1965, or the younger - generation artists around you, like ChimạPom?

Operating around the philosophy that there were already enough pictures in the world, the Pictures Generation artists employed appropriation as a means of exploring theoretical concepts of post-modern simulacrum and the notion that there was no true originality in art.

The Hogar Collection is pleased to present Lateralisms, a group show representing two generations of artists closely tied to the decisive contingency of minimalism, and to its redrawing of the parameters around both the artwork and the self / artist.

Ben Dowell, Untitled, 2010 Oil on canvas, 60 x 60 inches July 9 — August 9, 2010 Curated by Matt Wycoff The Hogar Collection is pleased to present Lateralisms, a group show representing two generations of artists closely tied to the decisive contingency of minimalism, and to its redrawing of the parameters around both the artwork and the self / artist.

I suspect that the Neo-Geo experience — which was available on tap at Saatchi's vast Boundary Road space in the late 1980s — was the single decisive influence on a generation of British artists who surfaced around 1990, including Michael Stubbs.

There will be hyperpigmented canvases by British - Nigerian Yinka Shonibare MBE, of the Young British Artists generation; animal - skin sculptures of the female form by the Swazi artist Nandipha Mntambo; portraits by the queer South African photographer Zanele Muholi; the 2013 Venice Biennale's Angola Pavilion installation by photographer Edson Chagas (winner of that year's Golden Lion award); an ebony bust by Soweto - born Mohau Modisakeng; a huge dragon sculpture in rubber and ribbon by the Cape Town — born Nicholas Hlobo; and sheets made of 1,150 tiny glass beads by American artist Liza Lou, who has a studio in Durban, a South African city around 800 miles from Cape Town.

When artist Jean - Baptiste Bernadet began to think of an exhibition of painters of his generation gathered around the work of Jean Degottex, whom he knows and appreciates since his formation at the Beaux - Arts, the unique format of the paintings in this series seemed a good starting point.

The New Museum Triennial is devoted to emerging artists from around the world, a new generation of artists who are shaping the current discourse of contemporary art and the future of culture.

This exhibition, curated by Fernando Francés, consists of two paintings by Peter Saul, considered one of the founding figures of American Pop Art, and one painting each by KAWS and Erik Parker, representing street artists of the generation born around the 1970s.

Dubbed «The Merry - Go - Round Show,» it arose from his concern that a new generation of Abstract Expressionist painters was not being seen in L.A. Hopps rented the merry - go - round at the Santa Monica Pier for $ 80, stretched tarp around the poles and hung nearly 100 paintings by 40 artists, including Richard Diebenkorn, Mark Rothko, Clyfford Still and Jay De Feo.

More recently, Gisela Colon, who has been recognized in ArtForum as a next generation light and space artist, has created «irregularly shaped wall mounted acrylic orbs... scarab - like objects achieve their iridescence via the play of natural light, yet the sculptures appear to change color as one moves around them, as if lit by multihued bulbs.»

NAME: @flowadvisory AFFILIATION: Founder of Flow Advisory WHY FOLLOW: After finding her footing at MoMA PS1 and the American Federation of Arts, Flow founded Flow Advisory, an art consultancy firm based in New York that is centered around matching in - the - know collectors with work by the younger generation of artists.

The exhibition includes 85 works by 50 artists of various generations from around the world, representing a chronological period of over five decades, from 1959 to 2014.

Peter Gynd is an independent curator and fifth generation artist whose practice centers around an exploration of landscape and its relationship with the body.

ABOUT THE TRIENNIAL The New Museum Triennial is the only recurring international exhibition in New York City devoted to emerging artists from around the world, providing an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture.

Her photography has inspired generations of artists and photographers around the world.

They are: «Fritz Leddy, Part II» in the Moran Gallery; «Frank Wimberley: Winner of the 2010 Annual Guild Hall Artist Member Exhibition» in the Spiga Gallery; «John Berg» exhibitions around 95 album covers he helped create as Art Director for Columbia Records in the Wasserstein Gallery and «Abstraction: Selections from the Guild Hall Museum Permanent Collection» featuring first generation abstract expressionism artists including Jackson Pollock, Lee Krasner, Willem de Kooning, Ibram Lassaw and more.