She seems to be saying I can be one
kind of artist today, tomorrow another.
Not exact matches
The collection veered away from Slimane territory as it progressed through decades
of rocker style, ending in a series
of bondage - inspired and sheer - fronted dresses that covered, at times, only the nipples — the
kind of clothes one could expect to see on
today's more daring female musical
artists: Rihanna, Nicki Minaj, Miley Cyrus.
This is the
kind of story that you go to Marvel for, executed by a writer /
artist team doing it as good as if not better than anyone else in the business
today.
But being an outside - the - box
kind of thinker and doer — an
artist, if you will, I had no desire to attempt to jump on the assembly line
of uber - capitalist publishing that exists in America
today.
What advice would you give to young
artists today who are getting that same
kind of attention early on?
What's different
today is not just the heightened economic inequality we see within the US, but also the widespread de rigueur expectation — reinforced by curators, academics, and, indeed, critics — that serious
artists offer a
kind of protest, working to subvert the very social and economic power structures their patrons uphold.
Thinking
of painting as a form
of technology is a very interesting vantage point, because if you consider the whole sweep
of different mediums that
artists are employing
today — from video and virtual reality to immersive installation and performance — then painting becomes the least optimized medium for avant - garde curators to engage the
kinds of crowds that come to biennials and exhibitions.
The complexity at work here is an intentional part
of the exhibition's curation: «I would argue that the strategies the show's
artists use for grappling with such issues goes beyond the
kinds of mirroring or enhancing
of the aesthetics
of such systems that have become standard
of much
of contemporary art
today,» Malick elaborates.
«While group exhibitions are typically built around a technique or aesthetic concerns, this show looks at models
of engagement and cooperation between contemporary female
artists, and the deeper
kinds of networking and community building that happen
today in the studios, galleries and across the digital realm.»
From the notorious queues at her museum shows to hundreds
of thousands
of images
of her artworks flooding social media, the Japanese avant garde
artist inspires a
kind of fan mania rarely witnessed in the art scene
today.
She continues to work
today, and her career is remarkable not only for its longevity but also because Bourgeois is a rare
kind of artist — one who consistently surprises and delights with startling new work.
Firstly, we will be making a new
kind of space that is needed to support the practice
of today's
artists, who are thinking and working in very different ways across artistic disciplines.
When Artspace's Will Fenstermaker spoke with Clark about his collection, the
artist noted his is the
kind of collection that would be difficult to assemble
today without a readily available fortune.
To be an
artist today, it is necessary to believe that there are still some
kind of job for art to do that can't be done by any other practice.
«We hear so much
today about
artists working in diverse, socially engaged practices,» said Irene Tsatsos, the Armory's Gallery Director and Chief Curator, «but there's a long tradition
of this
kind of work.
And while that
kind of biographical cache does not always serve an
artist's critical reception — romance and heroism are hardly the picks
of today's critical litter — it should here.
FLUX Exhibition is a groundbreaking and new
kind of art event — a collection
of the most dynamic painters, performance
artists and musicians, which presents an alternative way to encounter
today's best new art.
Kind of Blue — Winter Exhibition considers the magnetism that the color blue has had on
artists throughout art history and
today.
The first show
of its
kind in the United States, Sotheby's S 2 selling exhibition
of leading Brazilian contemporary art will bring together the vibrant, engaging works
of many
of the country's most compelling and influential
artists today.
Today Kemang Wa Lehulere lives between Johannesburg and Cape Town and is one
of the most important representatives
of a new generation
of South African
artists who work in all different
kinds of genres and media in order to develop new artistic perspectives and narrative modes, as well as new forms
of political action.
While so much
of today's common wisdom around appropriation grants that tactic a
kind of distanced purview, from which an
artist might critique while simultaneously participating in prevailing modes
of cultural representation, we all too rarely account for the ways in which a sort
of lasciviousness attends the venture — especially, perhaps, as younger generations take up its presumed look and legacy.