Sentences with phrase «life as an artist began»

His long life as an artist began in his teens as a jewelry designer and fabricator.

Life as an artist began in 2008 when Zankoul first began experimenting with photography.

Not exact matches

A converted church in a corrupt civilization withdraws to its upper rooms, into monasteries and conventicles; it issues forth from these in the aggressive evangelism of apostles, monks and friars, circuit riders and missionaries; it relaxes its rigorism as it discerns signs of repentance and faith; it enters into inevitable alliance with converted emperors and governors, philosophers and artists, merchants and entrepreneurs, and begins to live at peace in the culture they produce under the stimulus of their faith; when faith loses its force, as generation follows generation, discipline is relaxed, repentance grows formal, corruption enters with idolatry, and the church, tied to the culture which it sponsored, suffers corruption with it.

An artists» colony of peasants began painting firing clay and writing poetry as a way of reflecting biblically on their living conditions.

She started as a make - up artist in college (The Fashion Institute of Design and Merchandising, California) and soon begun to see that there are diverse ways of making a living in the beauty / fashion industry.

One of Warhol's muses, singer of the Velvet Underground and a woman of legendary beauty, Nico lived a second life after the story known to all, when she began her career as a solo artist.

In The Red Book, her touching, provocative, whip - smart romp of a novel where The Big Chill meets Mary McCarthy's The Group, Kogan begins with the Red Book entries for a group of roommates from the class of 1989 who are all headed for their 20th reunion weekend just as the financial and professional walls are crumbling around them: a self - made, childless securities broker, recently pink - slipped, eager to conceive a baby before her fertility window closes; a blue - blood «artist» and former lesbian, married to a writer's - blocked male novelist, living disingenuously and beyond their means off a no - longer - viable trust fund; a former actress, the star of every school production, who has become the stay - at - home wife to a famous Hollywood director; the adopted war orphan, now a foreign correspondent clinging to her dying industry, whose war journalist husband has recently been killed.

In the beginning he worked as a family and work dog, but the breed got so much attention from German artists that they often traded in these mundane tasks for the glamorous life of art models.

The artist told IGN in 2008 that the proto - Tomb Raider began life as a «sociopathic blonde» before morphing into a muscle woman, a «flat topped hip hopster,» and a «Nazi - like militant in a baseball cap.»

I'd also just like to share that as a mom of two, I am so glad to report that my kids (ages 8 and 11) are proud of me and are at an age when they are beginning to see and appreciate what I bring to our family life as an artist.

Bobbie began her creative life as a dancer and an artist before studying graphic design with Armin Hofmann at the Basel School of Art and Crafts, and her work is shaped by both balletic movement and rigorous attention to form.

Beautiful works, full of life and color, that is what I hope to see at the Prado Museum auctions that will begin in February of this year, with artists such as Munuera Nico, Perianes Jorge, Gabino Amaya Cacho, Diego de Giráldez, Guillermo Pérez Villalta, and many more artists.

I talk to a LOT of artists who are over 40, 50, or even 60 years old who are just beginning the transition to making a full - time living as an artist.

So I don't really know sometimes if it's because of culture began as a series of conversations between artist Leung Chi Wo and two Moroccan women living in Hong Kong.

After his discharge from the army, Kelly spent seven formative years as a young artist living in Paris, where he was influenced by the city's museums and architecture and began to develop his signature style, exemplified by his purely abstract paintings comprising differently colored panels.

However, the image's conceptual origins go back to the beginning of his career as an artist, with an abstract sculpture that he called the Rhythms of Life, a theme that has obsessed him ever since.

They provide a revealing look at an important artist during a pivotal time of change, one that reads as a transition from the powerfully gestural Abstract Expressionist work of the 1950s and early 1960s for which she was already celebrated, into a succession of later styles that begins in 1968 and extends to the end of her life in 1992.

Its other prongs include an artist residency at her home in Sonoma, California, for living artists in her collection, as well as scholars and curators whose work extends the canon and relates to the artists in her collection; sitting on the boards of museums like the Art Institute of Chicago; publishing critical scholarship, beginning with the 2016 book Four Generations: The Joyner Giuffrida Collection of Abstract Art; and collecting and gifting major works by black artists to institutions.

Collecting has been important to me since the very beginning, I've always said it's like making a map of someone's life and this exhibition shows how I've evolved both as a collector and an artist.

Beginning January 2018, the successful candidate will participate in a one - year fully subsidized live / work residency as part of the Bemis Center's acclaimed Artist - in - Residence Program.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step RigArtist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Rigartist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

J.B. Blunk: Curriculum Vitae Chronology 1926 Born August 28, Kansas City, MO 1946 Moved to California 1949 B.A. University of California, Los Angeles 1949 — 1950 Drafted, Korean War 1952 — 1954 Lived and worked in Japan as potter's apprentice 1954 — 1955 Artist in Residence at Palos Verdes College 1955 Moved to Northern California 1957 — 1962 Built house in Inverness, California 1962 Began working with wood 1969 — 1970 Travel to Mexico and Peru 1971 Apprenticeship Grant from Louis Comfort Tiffany Foundation 1979 Cultural Exchange Travel Grant to Indonesia, U.S.I.C.A. 1983 Travel to Japan 1986 California State Art in Public Places Program competition award for sculpture 1999 Lectured at California College of the Arts, San Francisco, CA 1990 Art Consultant to Land Studio Landscape Architects and MW Steele Group 2002 Died June 15, Inverness, CA

At Pali - Kao (where the programming focused on live performance as it converged with the visual arts as well as music), Hearn created video and performance work and notably began programming the work of other artists.

He stuck to this phrase throughout his life, meaning not that art is uninfluenced by society, but that it can not be used as a tool within society, that once an artist begins to play to the gallery his work descends to propaganda or pot - boiling.

When I finally left New York and came to Los Angeles in 1955, I began to experience who I was as an artist, in a continuation of these influences carried with me all my life.

Identified by the well - known art historian John McGregor as a great American Outsider Artist, Dwight Mackintosh began making artwork late in life and after spending over fifty - five years in institutions.

Beginning January 2019, the successful candidate will participate in a one - year fully subsidized live / work residency as part of Bemis Center's acclaimed Artist - in - Residence Program.

But Dia began as an institution dedicated to supporting long - term projects by living artists, and for several years now, it has been trying to raise money to build a space for such endeavors in Manhattan, after outgrowing its two locations on West 22nd Street in Chelsea and closing them in 2004.

What's exciting about this show of the life's work of a 79 - year - old artist is the fact that it ends on as high a note as it begins.

He began his career as a writer, and founded and directed the short - lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists — including Donald Judd, Sol LeWitt, and Robert Smithson.

Begun in 1962, Wesselmann's «Little Still Life» series demonstrates the artist's increasing interest in depicting contemporary, popular subject matter such as food, articles of clothing, and flowers, which he typically represented in tabletop displays.

The artists perceives his practice as a rebirth, taking discarded pieces of wood which have terminated their natural existence, and transporting them to his studio where they undergo a new beginning, returning to life as integral elements of his sculptures.

The artist sees this black hole, which could be fearsome, as a metaphor for the beginning of everything, the Big Bang that gives rise to life.

The artist was eight years old when the Cultural Revolution began, and the tumultuous narrative of his nation's recent past remains an integral part of his life today not merely as «historical fact,» but as a «psychological state.»

The press release, which begins with a quote on «the division of life into vegetal and relational, organic and animal» by Italian philosopher Giorgio Agamben, presents the show as a kind of intersection between the artists» works: «the liminal spaces of the human experience».

Amassed since the early 90's, when Hirst began trading work with his contemporaries, the exhibition reflects the artist's life - long commitment to the process of collecting, something he describes as: «ike stuff washed up on a beach somewhere, and that somewhere is you.»

A year and a half ago, I began brewing mead as part of two - person exhibition at Chicago Artists Coalition titled «Life, in some form» (curated by Christina Cosío & exhibiting alongside artist Brittany Ransom: http://www.thevisualist.org/2012/12/marissa-lee-benedict-brittany-ransom-life-in-some-form/).

Basquiat began his short - lived career as an obscure graffiti artist in New York City during the late 1970s.

His works quickly began to sell and, liberated by the knowledge that he could make a living as an artist, he never looked back.

This was the beginning of my life as an artist, and a member of the Cunningham «family.»

Dan Christensen, who began visiting eastern Long Island in the 1960s, lived as an artist in East Hampton until his death in 2007.

But recently, younger artists like Yang [Yong] have created something of a southern school, which, in its open examination of modern urban life, has begun to attract attention in places such as Finland and Switzerland.

What began life as a «one - time, temporal intervention into a specific real estate development scenario,» co-curated by longtime San Francisco writer Erick Lyle, Mission School artist Chris Johanson and Bayview - Hunters Point artist Kal Spelletich in 2012, eventually evolved into an art book of the same name, featuring work by artists like Barry McGee, Monica Canilao, Rigo 23 and Xara Thustra.

Influenced by the New York scene, the German began his graffito career at the tender age of 12 back in 1990, then switched to life as a freelance graphic artist in 1997.

A painter, writer, curator and a pioneer of Minimalist sculpture in Britain, the Pakistani - born artist began his professional life as a civil engineer in Karachi.

Much of Pettibon's visual output looks like the work of someone who never went near an art college, nor sketched a nude in a studio, which is a correct assumption to make — self - trained, he graduated from UCLA in 1977 with a degree in economics, beginning his working life as a maths teacher, before launching his career as an artist — but then you're taken aback because the drawing, while not on a par with Leonardo da Vinci's dexterity, exactly, is often fluid and well - observed.

This idea swims against a tide that has been gathering strength since the post-war period, when artists began to work seriously at shrinking that separation between art (that is aesthetic intervention) and life (the everyday, social relations that describe what this exhibition regards as our supposed purgatory in contrast to a heaven of artistic concerns).

Meanwhile, we get to watch as Max Hollein and his team begin to execute their plan to shake up the Legion — and, thus, our conception of art history — with works by living artists.

Several paintings approach allegory revisited as parody, beginning with Large Interior, W9 1973 (his mother and his lover), and the heavily promoted Large Interior W11 (After Watteau) 1981 — 83, with its awkward (and memorable) conjunction of five people from the artist's intimate life.

In Toibin's profoundly insightful reading of Bacon, the artist begins anew in later life, foretelling what he knows about a future he will not experience: «Working is a way, in any case, of keeping such knowledge at bay at least for the time being, a way of confronting the material world, of outfacing it, as though time might actually relent or the spirit might gain more substance than anyone has ever before imagined.»