Sentences with phrase «life as an art critic»

In Robert Storr's reflection of his life as an art critic, he compares the art critic to a bottom feeder in the hierarchy (or better - worded hegemony) of the art world.

You do not understand whole movements of painting such as Abstract Expressionism yet you earn a living as an art critic.

Not exact matches

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

Her life's work is described by New York Times art critic John Canaday (Terence Stamp) as kitsch, allowing «Big Eyes» to wrest with that ol' conflict between what is popular but tacky and what is true art and elitist.

Not bad for a movie characterized by Variety critic Peter Debruge, after its Telluride Film Festival premiere, as «the sort of joyless art film one might expect Polish nuns living under the clutches of 1960s communism to appreciate.»

His book, Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth (PRH / Penguin; Recorded Books; OverDrive Sample), addresses criticism itself as well as the process of being a critic.

It is through this structure that Hustvedt proves her point, for as you read testimony and accounts from all sides — Burden's co-conspirators, her children, a lover, art critics, various eccentric transients who came through Burden's warehouse, her best friend — you find yourself necessarily scouring for the «truth,» and in so doing, you engage the very prejudices and biases and Burden spent her life trying to bring to light.

A painter, poet, filmmaker and inventor too, Arakawa has lived in New York for almost 20 years, confounding critics and collectors as he transforms words into art, tersely explaining that «the sentence is a picture for me,» and that his poetry is «a map of the mind.»

In conversations about the artist — who was also a member of the art - activism collective Group Material — critics and scholars often assign this urgency to the political conditions related to Gonzalez - Torres's biography as a queer Cuban - American living with HIV.

A critic of institutions and a believer that the artist should act as what he termed an «incidental person» — one who operates in a non-art context, inserting oneself into political and social life — Latham created an oeuvre that paved the way for much socially engaged and politically charged art practice that we see today.

For a time, two critics in particular — who began as friends, and remained in the same social circles for much of their lives — set the stakes of the debates surrounding the maturation of American art that would continue for decades.

Bucklow's portrait of Greenberg shares the belief of critics such as Rosalind Krauss that Greenberg's cult of the pure modern work of art excluded irrationality, physicality, sexuality and the mess of life.

One of the early contributors to the Arte Povera movement living in Genoa in the 1960s, Prini became involved in shows such as «Arte povera — Im spazio» and «Collage 1» curated by Germano Celant, art critic credited with grouping the artists together.

Winning the award for the New York Magazine senior art critic was his essay «My Life as a Failed Artist» that described how his failure at being an artist pushed him to become an art critic.

As New York Times art critic Holland Cotter wrote in his review of the show, all - women (or all - LGBT or all - African - American, etc.) exhibits can feel tokenistic, but do serve to «introduce new names, unseen work, understudied lives.»

Douglas Crimp's new book Before Pictures tells the story of Crimp's life as a young gay man and art critic in New York City from the late 1960s through the 1970s.

The monograph, designed by Takaaki Matsumoto and authored by philosopher and art critic David Carrier, is the first to trace Rohrer's trajectory over 40 years, describing the highly unorthodox arc of his life — from Mennonite stock in rural Pennsylvania to prominence as an exceptional abstract painter of the late 20th century.

On the second floor, Anthony Elms incorporates room - sized installations of ephemera from the archives of art critic Gregory Battcock in an installation organized by artist Joseph Grigely, as well as a miniature show of the collected live music recordings and related ephemera of Malachi Ritscher organized by the group Public Collectors.

He currently lives and works in Berlin as an independent curator, art critic, and lecturer.

In yesterday's Sunday Times (#), critic Waldemar Januszczak described the decision as a «collapse in educational values», and explained how the study of art history had «saved [his] life».

Guest Curator Carter Ratcliff is a poet and art critic who has lived in New York since 1967 and has been writing about Alex Katz for almost as long.

Working as an art critic for magazines such as Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecart critic for magazines such as Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecArt International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecart exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

During his tenure, he curated award winning exhibitions such as Ryan McGinness: Studio Visit (2014); Xu Bing: Tobacco Project (2011); Sally Mann: The Flesh and The Spirit (2010); Chuck Close: People Who Matter to Me (2010); Artificial Light (2006), which appeared at VCU Anderson Gallery and MOCA at Goldman Warehouse in Miami; Robert Lazzarini (2003), recognized by the International Association of Art Critics as one of year's best exhibitions; Outer and Inner Space: A Video Exhibition in Three Parts (2002), recipient of an Emily Hall Tremaine Exhibition Award; and Vanitas: Meditations on Life and Death in Contemporary Art (2000).

The magazine highlighted key moments in the development of Modern Art, such as the Carnegie International Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19Art, such as the Carnegie International Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 19art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibition in 1967.

She provides a colorful commentary and anecdotes about her life and her collection, which ranges from puppets found in the trash in Palermo to works and correspondence by her many friends, including painters, sculptors, poets, photographers and filmmakers, dance and art critics, musicians and composers, such as Fairfield Porter, Giorgio Morandi, Peter Rockwell, Meret Oppenheim, Edwin Denby, Rudy Burckhardt, Francesca Woodman, Elliott Carter, Alvin Curran, and many others.

Working as an art critic for the magazines Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecart critic for the magazines Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecArt International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjecart exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

This monograph, authored by philosopher and art critic David Carrier, is the first to trace Rohrer's trajectory over 40 years and describes the highly unorthodox arc of his life, from Mennonite stock in rural Pennsylvania to prominence as an exceptional abstract painter of the late 20th century.

As an architect, conceptual artist, sculptor, photographer, blogger, Twitterer, interview artist, and cultural critic, he is a sensitive observer of current topics and social problems: a great communicator and networker who brings life into art and art into life.

Two decades later, poet and critic Charles Baudelaire recognized flânerie as the powerful engine of a new art movement in Paris and, inspired by Poe's man of the crowd, promoted it in his landmark 1863 essay «The Painter of Modern Life,» which heralded the arrival of the quintessential artist - flâneurs — the French impressionists.

CHAIRING A TALK at the Frieze Art Fair in London in 2006, art historian and critic Claire Bishop observed that the live panel discussion had, in recent years, replaced performance art as the home of «authenticity.&raqArt Fair in London in 2006, art historian and critic Claire Bishop observed that the live panel discussion had, in recent years, replaced performance art as the home of «authenticity.&raqart historian and critic Claire Bishop observed that the live panel discussion had, in recent years, replaced performance art as the home of «authenticity.&raqart as the home of «authenticity.»

There have been a lot of profiles on Saltz over the years, but this one manages to shed new light on the critic, exploring his early home life and then beginning to track his career closely from 2010 on, with his appearance as a judge on Work of Art and a burgeoning social media star.

Visitors to Brantwood can explore treasures from the life of the art critic sometimes referred to as «the greatest Victorian».

Critics, like Michael Fried, derided the sculpture as too dry or too theatrical, but it made art a brute fact of life.

Even as arguments against modernism's supposed transcendence of daily life were issued by a host of global players — Hélio Oiticica and the tropicália movement in Brazil, Guy Debord and the Situationist International in France, the Art Workers» Coalition and early land art in the us — many influential curators and critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of medium specificity and the priority of immediacy and opticaliArt Workers» Coalition and early land art in the us — many influential curators and critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of medium specificity and the priority of immediacy and opticaliart in the us — many influential curators and critics doubled down, most notably Michael Fried in his 1967 essay «Art and Objecthood», a defence of medium specificity and the priority of immediacy and opticaliArt and Objecthood», a defence of medium specificity and the priority of immediacy and opticality.

As Donald Kuspit, New York art critic, wrote in his description of Bob Nugent's work, «The vital layer, the layer of earth that supports life, that is the real theme of Nugent's works.»

He worked not only as a photographer, but also as a filmmaker, theorist, and critic, and taught at the California Institute of the Arts from 1985 until the end of his life.

The Virtues of Age — There's no substitute for actually having been there, as Holland Cotter underscores in his deep - dive review of the New Museum's 1993 show, discussing the art climate of that year with an intimacy and grasp available only to an art critic who had lived through the time as a professional.

«Äù Vija Celmins «Äô drawings show at the Hammer Museum in Los Angeles (# 3 out of 10), garnered similar hyperbole, as did Puryear «Äôs current retrospective at MoMA (# 5; TIME «Äôs art and architecture critic / blogger Richard Lacayo proclaims Puryear «Äúone of the greatest living American artists «Äù).

And how their highly personal analysis of painted surface implicates a play between painting and sculpture: Pinelli?within the Mediterranean matrix exposed by the influential art critic Achille Bonito Oliva in reference to the Italian Minimalia, while Visser and De Jong?along a northerly artistic trajectory, as both found inspiration in Iceland and live and work in the Netherlands.

Poet and critic (and A.i.A. contributing editor) Raphael Rubinstein's blog The Silo, conceived as a «personal, revisionist «dictionary» of contemporary art,» comes to life in this exhibition of works by 29 artists at Garth Greenan.

Moderated by Sharon Louden, Artist and Editor Panelists include: Sean Mellyn and Jennifer Dalton, Artists and Contributors to «Living and Sustaining a Creative Life» Christian Viveros - Faune, Writer, Curator and Art Critic for the Village Voice Paddy Johnson, is the founding Editor of Art F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice overLiving and Sustaining a Creative Life» Christian Viveros - Faune, Writer, Curator and Art Critic for the Village Voice Paddy Johnson, is the founding Editor of Art F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over tiArt Critic for the Village Voice Paddy Johnson, is the founding Editor of Art F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over tiArt F City and writes a column on art and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over tiart and Internet for artnet news At a time when art is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over tiart is increasingly viewed as a commodity and art - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over tiart - school graduates feel that gallery representation is imperative for making a living and a career, it is more important than ever to show the reality of how an artist sustains a creative practice overliving and a career, it is more important than ever to show the reality of how an artist sustains a creative practice over time.

As the Tate Modern prepares its autumn blockbuster, a group show called «Pop Life: Art in a Material World» (to open on October 1st), critics are considering Warhol's legacy.

As the first extensive introduction of Sean's art and life to the Chinese audiences, it collects some important reviews including Architectural principles in the art of Sean Scully by Arthur C. Danto, A Modernism that turned into a tradition by the renowned German philosopher and socialist Jürgen Habermas, and «Painting is permanently primitive...» by the poet and critic John Yau.

An Paenhuysen works as a freelance curator, art critic and educator living in Berlin.

All present seemed to agree that life is more interesting when it includes your critics, and that art is more interesting when you get to know the artist, as it enriches your understanding of the work, even if you think that the work is hateful.

And despite isolating himself in a small fishing shack in the tiny Texan town of Chinquapin, he remained extremely curious until the end of his life, having intense correspondences with figures such as renowned art critic Meyer Schapiro and sexologist John Money.

Making the top twelve list of top art world events taking place in early February, the exhibition, «deftly organized by art critic and curator Gregory Volk,» is higlighted as an opportunity to view the artist's lesser - known photography - based works, including «her recent still lifes, which poetically combine distinctive objects and images culled from her vast archive.»

Art critic and poet José Corredor - Matheos cites Harlequin's Carnival (1924 — 1925) as «his first characteristic image, in which the space is populated by fantastic shapes suggestive of living organisms».

[7] Controversy surrounded the presentation of the inaugural prize to Malcolm Morley as some critics «questioned his relevance» to art in Britain; he had lived and worked in the United States for the previous 20 years.

According to art critic Eleanor Heartney, she «uses her own life and experiences as springboards for meditations on the human condition and our cosmic and personal state of connectivity.»