Sentences with phrase «generation of painters made»

Not exact matches

AT THE HEIGHT of the Abstract Expressionist movement, which has been referred to as the «Triumph of American Painting,» 1 a somewhat younger generation of painters, while interested in and often respectful of their predecessors, formed the conviction that an art based on the depiction of the natural world could make a serious and ambitious statement in the latter part of the Twentieth Century.

His experimental approach to surface, texture and colour makes him among the most inventive painters of his generation.

American painter Joe Bradley has distinguished himself among the artists of his generation with his mutable approach to art - making.

Pull My Daisy is a classic look at the soul of the beat generation, made with writers Jack Kerouac and Allen Ginsberg, and painters Alfred Leslie, Larry Rivers, and Alice Neel.

Summed up and separated, they might make Jackson the most prolific painter of his generation.

If Jasper Johns put it back on the map in the 1950s and»60s, Joanne Mattera has been a prime mover in making the technique accessible to a new generation of painters.

This is part of what Pop art achieved and what subsequent generations of painters do when they work from photography: they estrange it enough to make its deepest impact thinkable.

For a new generation of abstract painters, the process of making an artwork often becomes an indispensable part of showing the work as well.

Otto Freundlich — theoretician, political activist, painter, and sculptor — belonged to the first generation of abstract artists, working alongside Braque and Picasso; Len Lye, a multi-disciplinary artist from New Zealand, was a pioneer of animated film - making; Brazilian painter and installation artist Lygia Clark created innovative interactive works; and Blinky Palermo was known for his «fabric paintings.»

In 1961, the noted critic Thomas Hess extolled Pace's place in this milieu, writing in the introduction to a show of his work: «Pace is a brilliant member of the second generation of New York School painters [who] burst on the scene in the early 1950s, fully made, as if from the forehead of the Statue of Liberty.»

Over the past 20 years, Edinburgh born Callum Innes has emerged as one of the leading abstract painters of his generation, making work which stands defiantly against the tide of the quick fix that has dominated the sensibility of so many of his contemporaries.

While it's true that he was a slightly younger contemporary of painters like Julian Schnabel and Francesco Clemente, who were making a mark with figurative works at the beginning of the 1980s, most of the outstanding black painters of the generation preceding Marshall's own — Frank Bowling, Ed Clark, Sam Gilliam, Howardena Pindell, Jack Whitten — were committed abstractionists.

That unabashed bombast has made Wiley a walking superlative: the most successful black artist since Basquiat, possibly the wealthiest painter of his generation, certainly the one who made his name earliest (he was 26 for his first major solo show), a gay man who has become the great painter of machismo for the swag era, a bootstrapper from South Central who talks like a Yale professor (much of the time), a genius self - promoter who's managed to have it both ways in an art world that loves having its critical cake and eating the spectacle of it, too, and a crossover phenomenon who is at once the hip - hop world's favorite fine artist (Spike Lee and LL Cool J own pieces) and the gallery world's most popular hip - hop ambassador.

His peers were the second - generation followers — «A host of younger painters like myself who were struggling, fighting, full of energy and argument and drive, demanding, assertive, trying to make an original mark.

, ArtPharmacy (Blog), June 12 Elisa della Barba, «What I loved about Venice Biennale 2013», Swide, June 2 Juliette Soulez, «Le Future Generation Art Prize remis a Venise», Blouin Artinfo, May 31 Charlotte Higgins, «Venice Biennale Diary: dancing strippers and inflatable targets», The Guardian On Culture Blog, May 31 Vincenzo Latronico, «Il Palazzo Enciclopedico», Art Agenda, May 31 Marcus Field, «The Venice Biennale preview: Let the art games commence», The Independent, May 18 Joost Vandebrug, «Lynette Yiadom - Boakye», L'Uomo Vogue, No. 441, May / June «Lucy Mayes, «Lynette Yiadom - Boakye», a Ruskin Magazine, Vol.3, pp. 38 - 39 Rebecca Jagoe, «Lynette Yiadom - Boakye: Portraits Without a Subject», The Culture Trip, May Lynette Yiadom - Boakye, «Lynette Yiadom - Boakye on Walter Richard Sickert's Miss Gwen Ffrangcon - Davies as Isabella of France (1932)», Tate etc., Issue 28, Summer, p. 83 «Turner Prize - nominated Brit has art at Utah museum», Standard Examiner, May 1 Matilda Battersby, «Imaginary portrait painter Lynette Yiadom - Boakye becomes first black woman shortlisted for Turner Prize 2013», The Independent, April 25 Nick Clark, «David Shrigley's fine line between art and fun nominated for Turner Prize», The Independent, April 25 Charlotte Higgins, «Turner prize 2013: a shortlist strong on wit and charm», guardian.co.uk April 25 Charlotte Higgins, «Turner prize 2013 shortlist takes a mischievous turn», guardian.co.uk, April 25 Adrian Searle, «Turner prize 2013 shortlist: Tino Sehgal dances to the fore», guardian.co.uk, April 25 Allan Kozinn, «Four Artists Named as Finalists for Britain's Turner Prize», The New York Times, April 25 Coline Milliard, «A Crop of Many Firsts: 2013 Turner Prize Shortlist Announced», Artinfo, April 25 Sam Phillips, «Former RA Schools student nominated for Turner Prize», RA Blog, April 25 «Turner Prize Shortlist 2013», artlyst, April 25 «Turner Prize Nominations Announced: David Shrigley, Tino Sehgal, Lynette Yiadom - Boakye and Laure Prouvost Up For Award», Huffpost Arts & Culture, April 25 Hannah Furness, «Turner Prize 2013: a dead dog, headless drummers and the first «live encounter» entry», Telegraph, April 25 Hannah Furness, «Turner Prize 2013: The public will question whether this is art, judge admits», Telegraph, April 25 Julia Halperin, «Turner Prize shortlist announced», The Art Newspaper, April 25 Brian Ferguson, «Turner Prize nomination for David Shrigley», Scotsman.com, April 25 «Former Falmouth University student shortlisted for Turner Prize», The Cornishman, April 29 «Trickfilme und der Geschmack der Sonne», Spiegel Online, April 25 Dominique Poiret, «La Francaise Laure Prouvost en lice pour le Turner Prize», Liberation, April 26 Louise Jury, «Turner Prize: black humour artist David Shrigley is finally taken seriously by judges», London Evening Standard, April 25 «Turner Prize 2013: See nominees» work including dead dog, grave shopping list and even some paintings», Mirror, April 25 Henry Muttisse, «It's the Turner demise», The Sun, April 25 «Imaginary portrait painter up for Turner Prize», BBC News, April 25 Farah Nayeri, «Tate's Crowd Artist Sehgal Shortlisted for Turner Prize», Bloomberg Businessweek, April 25 «Turner Prize finalists mix humour and whimsy», CBC News, April 25 Richard Moss, «Turner Prize 2013 shortlist revealed for Derry - Londonderry», Culture24, April 25 «David Shrigley makes 2013 Turner Prize shortlist», Design Week, April 25 «The Future Generation Art Prize@Venice 2013», e-flux.com, April 21 Skye Sherwin, «Lynette Yiadom - Boakye», The Guardian Guide, March 2 - 8, p. 36 Amie Tullius, «Seasoned by Whitney Tassie», 15 Bytes, March «ARTINFO UK's Top 3 Exhibitions Opening This Week, ARTINFO.com, February 25 Orlando Reade, «Whose Oyster Is This World?»

Perhaps more than any other sculptor of his generation, he made manifest in his sculpture of the early 50's the whole, abstract and essentially non-Cubist space that was being developed by the Abstract Expressionist painters.

«We work with some informed collectors in Uruguay, Argentina and Brazil who have made a significant commitment to the art of Joan Mitchell, and to that of other first - generation abstract expressionist painters.

In 1961, the critic, Thomas B. Hess, called Pace a «brilliant member of the second generation of New York School painters that burst on the scene, in the early 1950s, fully made, as if from the forehead of the Statue of Liberty.»

Bavington, who lives in Las Vegas, makes a good example of how younger abstract painters reinterpret the styles of an earlier generation.

Her psychologically penetrating portraits and outspoken personality, made her a cult figure in the art community during the last two decades of her life, in which her visual language has had a major impact on successive generations of painters.

When asked what exactly was the mythic calling of his generation of painters, Barnett Newman famously responded, «Instead of making cathedrals out of Christ, man, or «life,» we are making [them] out of ourselves, out of our own feelings.»

Heilmann's big ideas and promiscuous use of different media have made her a hero for a new generation of painters, not least the women leading abstract American art today.

For this Tuesday Evenings lecture, Vassell presents DARK ART: A New Conversation with Abstraction, in which she proposes that «a new and grittier form of abstraction permits us to theorize that a younger generation of painters, consciously or not, is producing ruggedly electric paintings that tell somber and vicious tales... making a statement on the sociopolitical inevitability of a world gone mad.»

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

However, there were many second - generation Abstract Expressionists making terrific paintings, such as Joan Mitchell, Grace Hartigan, Michael Goldberg, Helen Frankenthaler, Alfred Leslie, and others, but by 1958 most of the other painterly painters had become academic.

A master of postwar art and the highest - selling Chinese painter of his generation, Zao Wou - ki applied Modernist art - making techniques to traditional Chinese literati painting.

New York had a charge sheet a mile long by that time when it came to killing artists, especially painters of Rothko's generation - the abstract expressionists, the epic and baffling, rhetorical and silent, introspective and dazzling movement whose intensity and originality made Manhattan the capital of modernism in the middle of the 20th century.

Goodnough, a painter whose stylistic evolution from vibrant, Cubist - inspired abstractions to Color Field canvases made him one of the least definable members of the second - generation Abstract Expressionists, died on Oct. 2, 2010 in White Plains.

Several of the New York School painters who first made American art a cultural force in the world were in rebellion against an earlier generation committed to social activism in art and communism in politics.

Many other painters of the same generation - including Adolph Gottlieb (1903 - 74)- have skillfully refined the innovations of the immediate past with great individual distinction but few have made genuine discoveries of striking originality.

In addition to clearing a path of possibilities for a generation of painters Tom has made a practice, reputation and career as an artist who seeks and conveys «rightness» in all the unorthodox, lush, gorgeous, challenging and exciting ways that it can appear.

The use of enamel conveys Allen's refusal to be medium specific and make a fetish out of oil paint, as did earlier generations of English painters.

Jane Freilicher, a stubbornly independent painter whose brushy, light - saturated still lifes and luminous landscapes set in the marshes of eastern Long Island made her one of the more anomalous figures to emerge from the second generation of Abstract Expressionists, died on Tuesday at her home in Manhattan.

The Dead Nor am I a fan of Christopher Wool's work, pacem the canon formation / hagiography in operation in many of the notable reviews of the show — Peter Schjeldahl: «Like it or not, Christopher Wool, now fifty - eight, is probably the most important American painter of his generation,» Roberta Smith: first, October 24, «this exhibition is an elegant experiential treat» but, while assuring him the best patrilineage, still a bit tepid «How a painting is made has long been part of its content — before Pollock for sure, and even before Manet.