Sentences with phrase «life as an art dealer»

Sandra Gering interviewed by Edwin Bolta about her life as an art dealer, from her early days on Long Island, to her present gallery on Fifth Avenue.

If I had a business manager, I'd probably be told that for someone who makes part of their living as an art dealer, putting these words «out there» is not a particularly bright move.

Not exact matches

Based on The New York Times best - selling book, and recipient of the Dove Foundation seal of approval for ages 12 +, SAME KIND OF DIFFERENT AS ME follows successful art dealer Ron Hall (Greg Kinnear) and his wife Debbie (Renée Zellweger), who seemingly have the perfect life.

SAME KIND OF DIFFERENT AS ME is based on the inspiring true story of international art dealer Ron Hall (Greg Kinnear), who befriends a homeless man (Djimon Hounsou) in hopes of saving his struggling marriage to Debbie (Renée Zellweger), a woman whose dreams will lead all three of them on the most remarkable journey of their lives.

Written and directed by Ford, and based on the book «Tony and Susan» by Austin Wright, Nocturnal Animals stars Adams as Susan Morrow, a Los Angeles art dealer living a privileged, yet unfulfilled life with husband Hutton Morrow (Armie Hammer).

Same Kind of Different as Me: International art dealer Ron Hall must befriend a dangerous homeless man in order to save his struggling marriage to his wife, a woman whose dreams lead all three of them on the journey of their lives.

As I dug deeper I was struck by the sense of outrage and loss this painting aroused in so many people: The family of Lea Bondi, determined to reclaim the stolen portrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home to Vienna.

«Some illustrators make a living creating personal work that's exhibited at major museums and sold through dealers [and college illustration programs that offer gallery / fine art as a concentration],» she says.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

When he arrived, Tamayo spoke no English, but that didn't stop him from rapidly inserting himself into a number of creative communities — one of Mexican intellectuals who hung out at the midtown bookstore run by poet Juan José Tablada; one of American artists who lived near Tamayo's apartment in the Village, including Stuart Davis, Reginald Marsh, Raphael and Moses Soyer, and Yasuo Kuniyoshi; and a circle of art dealers and impresarios including Walter Pach (who had organized the 1913 Armory Show), Carl Zigrosser of Weyhe Gallery, and future gallerist and Surrealist promoter Julien Levy, then working as an assistant to Zigrosser.

Huyghe has ventured on a science vessel to Antarctica in search of an uncharted island and its albino penguin, directed a shot - by - shot remake of Alfred Hitchcock's Rear Window (1954), planted a temporary (and very unusual) garden in Madrid, filmed a documentary about the early New York hip - hop scene, invented holidays, created a weather - generating machine, taken students on vacation, and used bees, dogs, ants, spiders, and an art dealer infected with the flu as living readymades.

As a black man born in Manchester and now living in Trinidad, half a world away from the endless machinations of the London art world and London's art dealers, how has Ofili defined his own experience of being alive, and succeeded in establishing his own black cultural identity through his art?

Living in East London, which has a vibrant arts scene, he often worked as an installer for the neighborhood's small galleries and met players like Rodolphe von Hofmannsthal years before that dealer joined David Zwirner.

He's the closest thing we have to a legendary dealer today - so much so that artist Urs Fischer and art dealer Gavin Brown mounted an extraordinary exhibition at Tony Shafrazi Gallery this past summer that served as a visual and intellectual biography of a man who has lived a life that is literally fabulous.

This exhibition examines the life of a key art dealer: Galka Scheyer, who embraced Modern work early in the 20th century and was partly responsible for bringing the artists known as the «Blue Four» to prominence in the United States.

Now established as one of the most influential art collectors of the mid-20th century, the American dealer and museum curator Marguerite «Peggy» Guggenheim was never likely to live an ordinary life.

When his New York dealer died in 1954, he selected the Perls Gallery in New York as his new art dealer, and this arrangement also lasted until the end of his life.

Art expert Jeremy Stone, who lives in San Francisco and is Allan Stone's daughter, said her father «will probably be best known as the art dealer who chose Wayne Thiebaud over Andy Warhol, Jasper Johns and Chuck CloArt expert Jeremy Stone, who lives in San Francisco and is Allan Stone's daughter, said her father «will probably be best known as the art dealer who chose Wayne Thiebaud over Andy Warhol, Jasper Johns and Chuck Cloart dealer who chose Wayne Thiebaud over Andy Warhol, Jasper Johns and Chuck Close.

After 25 years as an art dealer, Jennifer decided, in 2000, to dedicate her professional life to helping families going through personal crisis and divorce.

Though tenant Alessandra works as an art dealer, she was enchanted by the gallery wall already installed in the living area by the flat's owners, Nathalie Bouchard and Annie Horth.