Sentences with phrase «later generations of artists»

A major new exhibition presented by Tate Liverpool in summer 2011 will reveal the inspiration behind the artist's unique style, highlighting how his practice continues to influence later generations of artists, resonating beyond Surrealism to inform the language of pop and conceptual art.

Tate Britain will on Wednesday open the first major exhibition examining the later work of a Dadaist artist now regarded as one of the true greats of 20th - century modernist art, whose abstract collages and concrete poetry were an enormous influence on later generations of artists.

The collection also chronicles the significant and enduring influence of Pop Art on later generations of artists, including the virtuouso painter Gerhard Richter, the photography - based critiques of Richard Prince and Cindy Sherman, and the pop - culture riffs of Katharina Fritsch, Jeff Koons, and Takashi Murakami.

This group inspired later generations of artists such as Henry Schnakenberg, Aaron Harry Gorson, and others who painted subjects of labor and leisure.

Also at Tate Britain, Art and Photography from the Pre-Raphaelites to the Modern Age will explore the relationship between pioneering early photographers and Pre-Raphaelite, Aesthetic and Impressionist artists, including works by John Everett Millais, John William Waterhouse, James Abbott McNeill Whistler, Julia Margaret Cameron and Henry Fox Talbot.Conceptual Art in Britain 1964 - 79 will trace the course of conceptual art from its genesis in the early 1960s and through the 1970s, showing the origins of a movement that was profoundly influential on later generations of artists.

Klee's art and lessons on color theory would greatly impact later generations of artists, including, significantly, the Abstract Expressionists and Color Field painters.

«Brings to light the impact of the mid-20th-century Black Arts Movement on later generations of artists.

The shiny black finish, common in many Smith works, and minimalist forms reveal the artist's significant impact on later generations of artists.

When we consider the influence of Sargent on a later generation of artists the question of this participation remains.

Not exact matches

A Character Artist at our BioWare Austin studio will influence a new generation of character fidelity by utilizing their exceptional skills and working with the latest engine and tools.

The new element in the late sixties was the coming of age of the diverse first wave of the baby boom generation of artists born between 1937 and 1950.

Kordansky started his business 12 years ago with artists primarily of his own generation, but he confesses that the latest crop leaves him cold.

The work of these artists was brought into fresh focus and given renewed impetus by the revival of interest in figurative painting by a younger generation that took place in the late 1970s and the 1980s (see neo-expressionism and new spirit painting).

Lebanese - born artist, academic and poet Etel Adnan produces with her palette knife luminous abstracted landscapes — blocks of bright colour on canvas — that, late in life (Adnan is now nearly 90 years old), have brought her a new generation of devotees.

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

As figurative painting made a comeback in the late»80s and»90s, a younger generation of artists began to see Katz with new appreciation.

By the late 1940s Tworkov was named «one of the most masterful artists of his generation» by the critic Thomas B. Hess.

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation.

Gilliam is considered a third - generation Color Field artist (a «generation» in this kind of art history lasts perhaps four or five years), and he came to it obliquely, drawn inby his friend the late painter Tom Downing, who threw down a gauntlet.

As this dialogue indicates, Fontana was working at the very forefront of avant - garde art even late in his career, and advancing the ideas of the generation of artists who would succeed him after his death in 1968.

A great rendering of this period was the 2014 British Museum exhibition (Germany divided: Baselitz and his generation from the Duerckheim Collection), where, among other key post-war artists, Baselitz participated with eleven of his Heroes series and other iconic works of the late 1960s.

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.»

Gaines» groundbreaking work over the period of 40 years serves as a critical bridge between the first generation conceptualists of the 1960s and 1970s and those artists of later generations exploring the limits of subjectivity and language.

Features over 40 artists from across generations, including Ian Cheng, Heman Chong, Andrea Fraser, Jonas Mekas, Rachel Rose, and Amalia Ulman, this latest iteration applies the same ethos where visitors are encouraged to engage with and take ownership of the artworks, curating their own collections and directly impacting the exhibition landscape.

When I first started curating in the late 1980s, the artists in my generation and the couple of generations in front of me were in a moment of what I would call «narrative conceptualism.»

The three «informalisms» in Bill by Bill are in part an attempt to create what artist Christopher K. Ho has termed «modest Bushwick abstraction» and linked to a kind of Clintonian political neutrality of privilege that our generation experienced outside of New York in the mid - to late - nineties.

The artwork and ideas of Nam June Paik were a major influence on late 20th - century art and continue to inspire a new generation of artists.

The late conceptual photographer was a member of what critic Douglass Crimp called the «Pictures Generation» — a group of artists in the late»70s who rejected the predominant values of object - based Minimalism in favor for a return to imagery, or more specifically, commercial imagery related to advertisements and film / television.

In presenting their work alongside other contemporaries and artists of later generations, we can trace a fascinating and ongoing dialogue that engages a variety of issues, including materiality, repetition, nature, and subjectivity.

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

As of late, a younger generation of artists has started to take notice of his work, and the hip artist - run space Know More Games in Brooklyn has been actively promoting him.

His groundbreaking work of this period serves as a critical bridge between the first generation conceptualists of the 1960s and 1970s and those artists of later generations exploring the limits of subjectivity and language.

It takes as its starting point Robert Heinecken's series Are You Rea (1964 — 1968), and features also works by leading «Pictures Generation» artists, including Prince, Barbara Kruger and Louise Lawler, who came of age during the consumer culture of the late 1970s and early 1980s.

KSThat earlier generation of women artists was not given the option of being feminists — and, even later in life, many were not interested in embracing that identity when it was on offer.

Since the late 1990s, when he first presented the seminal work Fiorucci Made Me Hardcore, Mark Leckey's dynamic and varied output has made a significant impact and continues to be an important influence on the work of a new generation of artists in the UK and internationally.

Emerging in late - 1960s Los Angeles, Ruppersberg was among that city's first generation of conceptual artists to espouse a working method that privileges ideas and process over conventional aesthetic objects.

Artists in later generations would found their own galleries, sometimes even in Manhattan, but the cost of space makes that rare.

About 100 artists are in her collection, and Ms. Joyner referred to Lewis and the Washington Color School painter Alma Thomas (1891 - 1978) as the «Adam and Eve» of the group, stylistically begetting the later generations.

The anachronism implies a continuity between the myths of hard - drinking artists from different eras: as if the beer - swilling painters of the Dutch Golden Age, the absinthe - addled wretches of 19th - century Paris, the tough guys of the New York School, liquored - up and rowdy at the Cedar Tavern, and several generations of British artists, stumbling out drunk in the late afternoon from Soho's Colony Room Club, could all be imagined in some timeless bar - room.

Many first generation Conceptual artists working in the late 60s and early 70s de-emphasized the art object, in part as a gesture against what they perceived as the increasing commercialization of the artwork (one thinks of Sol LeWitt's ephemeral wall drawings, painted over at the end of their exhibition, or the linguistic investigations of Lawrence Weiner who in 1972 wrote, «I do not mind objects, but I do not care to make them»).

«One striking thing was a certain antipathy toward the exhibition, if not necessarily toward Thelma, by an older generation of African - American artists who believed their work had been ignored by museums in the city,» remembers Okwui Enwezor, then a young transplant from Nigeria (and later a Venice Biennale curator).

Polke's influence on the generation of painters that first rose to prominence in the 1980s was profound, with his stylistic experimentations and use of found imagery echoed in the work of artists as disparate as Albert Oehlen, Rosemarie Trockel, the late Martin Kippenberger and the Americans Julian Schnabel, David Salle and Richard Prince.

Like many others of her generation in the Bay Area, the artist also worked in a figurative style in the 1950s and later.

From then on, Woelffer was based in Los Angeles — he later headed the painting department at Otis — and was a hugely influential teacher to a generation of Los Angeles artists.

He graduated from Goldsmith's College in 1988 and later that year showed his work in the landmark exhibition Freeze, which heralded a new generation of young British artists.

In New York of the late 70s and early 80s artists like Jack Goldstein, Cindy Sherman, Richard Prince and Sherrie Levine were sometimes called the Pictures Generation.

Feminism in the art world resulted in a much larger presence for women artists in the 1970s and 1980s, and the «Pictures» generation — those who arrived on the New York City art scene in the late 1970s (many from California Institute of the Arts or Buffalo State College) and experimented radically with using borrowed images — may be the first group of artists associated with a particular movement in which there are as many (or more) high - profile women as there are men.

Later, in the 1950s and 1960s, artists created work that rejected the bravura gestures of the previous generation in favor of art that reflected an aesthetic based on contemporary values.

The immense influence on generations of young artists is additionally straitened by the fact that Eric Fischl is still innovative, progressive and one of the most influential figurative painters of the late 20th and early 21st centuries.

«4 Buren's declaration that the museum is not a priori the «natural» place for art but instead a historical entity, what he calls «a frame» socially constructed for a specific purpose and to engender specific meanings, is underscored in the works of artists of later generations.