Sentences with phrase «identify as painters»

Do these artists identify as painters or do they just happen to use paint in these particular pieces?

The works in this exhibition explore the way that this subgenre of painting has evolved in the work of artists who may identify as painters, but who explore the space between painting and sculpture.

Identifying himself as a painter, the director speaks openly and at length about the film and his personal interest in it, while Rose encourages him with his customary highbrow tone and evident admiration.

Identifying herself as a painter, curator, and collector all at once, Georgetti sees these paintings as having a particular purpose within a domestic setting.

He introduced David Smith, who originally identified himself as a painter, to the welded sculpture of Julio González — and also to artists like Stuart Davis, Arshile Gorky and Willem de Kooning.

Self - identified as a painter at the time, he was in the process of refining his work to the point that it was accessible only through direct experience.

The free event explores the state and shape of contemporary painting, asking the questions «How far have artists extended the boundaries of the medium in the twenty - first century, and what does it mean to be identified as a painter today?

How far have artists extended the boundaries of the medium in the 21st century, and what does it mean to be identified as a painter today?

Not exact matches

In its presentation, The Danish Girl — Tom Hooper's portrait of Lili Elbe, a transgender woman and the first known recipient of sex - reassignment surgery — is a fairly standard coming - of - age story that follows Einar (Eddie Redmayne) and his wife Gerde (Alicia Vikander), bohemian painters in 1920s Copenhagen, who come to terms with Einar's gradual realization that he identifies as female.

Applying modern science and forensic techniques to a century - old crime, Cornwell's research led to the publication of Portrait of a Killer, in which she identified the renowned British painter Walter Sickert as the Ripper.

The book that followed, Portrait of a Killer (2002), identified British painter Walter Sickert as the culprit — and earned Cornwell widespread derision among so - called Ripperologists.

Applying old - fashioned as well as modern forensic techniques to a century old crime, Patricia Cornwell's research led to the publication of Portrait of a Killer, in which she identified the renowned British painter Walter Sickert as the Ripper.

With these paintings he seeks to identify himself as the «denim painter.»

[4] On his role as a Wisconsin artist, Andrew Stevens stated in 1995 that «Holty's zeal for non-objective art was more closely identified with the younger group of American painters in the East.

The results are beautiful abstractions, but because she identified herself as a photographer, sculptor, and painter, dealers didn't know how to place her.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to Color Field painting in the 1950s and 1960s.

Finally, in the late 1960s (partially as a response to minimal art, and the dogmatic interpretations by some to Greenbergian and Juddian formalism), many painters re-introduced painterly options into their works and the Whitney Museum and several other museums and institutions at the time formally named and identified the movement and uncompromising return to painterly abstraction as «lyrical abstraction».

Though Michelle Grabner identifies first and foremost as a painter, today she occupyies one of the most prominent curatorial perches in the world as a co-curator of the 2014 Whitney Biennial.

I remember Dennis Congdon fondly as the head of RISD's painting department, but I think painters in general might identify with his painter's paintings.

The exhibition includes work by the names often identified with the eighties such as Jean - Michel Basquiat, Sherrie Levine, David Salle, Julian Schnabel and Christopher Wool, as well as many lesser - known painters who exemplify the breakthrough aesthetic of this period.

This approach was famously codified by critic Harold Rosenberg in his seminal article «The American Action Painters,» which was published in ARTnews in December 1952 and became a hot topic of conversation in New York art circles the following year.19 Rosenberg identified a revolution in recent approaches to painting that conceptualized works of art as the result of a process that was begun in complete uncertainty and unfolded over time.

These were difficult years for those who, such as Zappettini, identified themselves as «painters,» an anachronistic definition at the time.

The Russian born artist is also closely identified with the New York School of Painters that emerged during the 1940s as a new collective voice in American art.

Most Abstract Expressionist painters used color as an «ax,» to cut one area from another, and to identify planes and relationships.

Only four of the 23 visual art grantees identified themselves as practitioners within a traditional medium: Lisa Sigal and Joan Walthemath as painters, and LaToya Ruby Frazier and Connie Samaras as photographers.

Identified as part of the California hard - edge painters, after she left surrealism - influenced work behind, Windblown has an unmistakable lightness and seems to foreshadow later works that more closely incorporate references to the landscape into her geometric abstract paintings.

One could argue that this exhibition, one that pairs luminous, warm abstractions and coldly machined industrial fixtures, provides a liminal art historical space between Abstract Expressionism and Minimalism, recalling Flavin's beginnings as an abstract painter identified within the locus of Brooks's generation.

Self - identified as «the painter of space,» Klein sought to achieve immaterial spirituality through pure color (primarily an ultramarine blue of his own invention — International Klein Blue) and even went so far as to present white galleries emptied of all artworks for his renowned 1958 exhibition of «the Void.»

The exhibition features work by artists often identified with the 1980s — Jean - Michel Basquiat, Sherrie Levine, David Salle, and Julian Schnabel — as well as by a significant number of less celebrated painters.

The academy is about to launch the first major exhibition in the UK of the painter whose best known work shows a tailor in action, gathering together rare loans including his late religious paintings and altarpieces that have never left Italy before, and one portrait only identified as his work last year by the curators of this show.

This contradiction at the heart of Hopper's work was identified as early as 1946 by critic Clement Greenberg, who perceptively wrote that Hopper «is not a painter in the full sense; his means are second - hand, shabby, and impersonal,» and, more to the point, «Hopper simply happens to be a bad painter.

In the 1960s, art critics identified Davis as a leader of the Washington Color School, a loosely connected group of Washington painters who created abstract compositions in acrylic colors on unprimed canvas.

Nor did he appear in the defining photograph of the group, identified as the Irascibles, that ran in Life Magazine on Jan. 15, 1951, and included the usual suspects: Jackson Pollock, Robert Motherwell, Mark Rothko, Willem de Kooning, Barnett Newman, Ad Reinhardt, et al., along with one female painter, Hedda Sterne.

From the beginning the Long Beach - born dealer identified his operation — Patrick Painter, Inc. — as a corporation first and a gallery second, a nod to another early mentor, pioneering New York dealer Marian Goodman.

Although in her statement she identifies herself as an Expressionist painter, Fishman is dismissive of Neo-Expressionist painting because «most of it has to do with fashion.»

The exhibition includes work by artists often identified with the 1980s — Jean - Michel Basquiat, Sherrie Levine, David Salle, and Julian Schnabel — as well as by several lesser - known painters.