She will also contextualize Frankenthaler's practice with
that of other artists of her generation on view in the PMA's galleries, ranging from Anthony Caro and Louise Nevelson to Lois Dodd and Alex Katz.
I am excited to showcase Andre's work as well as
that of other artists of his generation like Guy De Cointet, alongside a younger group.
Born in Newcastle and trained at the Glasgow School of Art, Murphy's concerns are a world away from the post-internet, conceptual or political focus
of other artists of his generation.
Not exact matches
Delete emails from studios begging to sign the most successful independent
artist of this
generation and most
others?
The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses
of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many
others has inspired thousands
of people to dedicate their lives to filmmaking, and thanks to the wonders
of modern technology, these priceless cultural beams
of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new
generation of artists who might persevere and thrive to one day fill the shoes
of the likes
of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens
of others whose work continually delight and move us in every way possible.
Starring Daniel Radcliffe, Dane DeHaan, Ben Foster, Michael C. Hall, Jack Huston and
others, our own reviewer found the film «fairly interesting and relatively compelling, but far from an enlightening or deep story into the hearts and minds
of these
artists who would define a
generation.»
As it currently stands, it will jeopardise the future success
of our creative industries by significantly reducing opportunities for the next
generation of musicians, technicians, designers,
artists, actors and all the
other vital roles in the industry.
Calligraphy, miniature painting, Sufi mysticism, and
other traditions are the starting point for a new
generation of artists from the Islamic world who are using the language
of contemporary art to inflect their work with multiple layers
of meaning.
On the
other hand, though the group
of painters represented here form a tight - knit «
generation» (one constraint
of the show is that all the
artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with
others but which is, nevertheless, its own.
It's a chance to see works by three
generations of the famed Wyeth family
of artists — N.C., Andrew and Jamie — as well as
others.
Although Giacometti and Klein, were
artists born a
generation apart and couldn't be more different the two
artists lived and worked within a mile
of each
other, in Montparnasse, Paris, but there are few clues in their work to suggest that they shared the same artistic milieu.
While a younger
generation of artists, led by Katharina Grosse, Carol Bove, and
others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities.
Over dinner with Smith and
others from the museum, she talked about a followup to her previous book, The Wild Wild East, that she was researching, about the new
generation of Chinese
artists.
EXHIBITION «Black Eye,» a group show that explores the shifting dynamics
of race and identity over the past two decades, opens May 3 featuring 26 Black contemporary
artists, a who's who among two
generations — Sanford Biggers, Nick Cave, David Hammons, Deanna Lawson, Simone Leigh, Steve McQueen, Toyin Odutola, Gary Simmons, Xaviera Simmons, Hank Willis Thomas, Kehinde Wiley and Nari Ward, among
others.
Tino Sehgal is not like
other artists of his
generation.
During the early to mid-1960s Color Field painting was the term for the work
of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and
others whose works were formerly related to second
generation abstract expressionism; and also to younger
artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella.
He also promoted and collected the work
of a younger
generation of artists, including Robert Arneson, Jack Whitten, Robert Mallary, David Beck and Richard Hickam, among many
others whose aesthetic tendencies suggest intriguing connections to the historical holdings in the collection.
Yoshitomo Nara and the Tokyo Pop art movement reflect the experiences
of a
generation of artists who grew up during the post-World War II economic boom in Japan that was characterized by, among
other things, an influx
of popular culture from the West, including the animation
of Warner Bros and Walt Disney.
Through audio interviews with founders and key staff, a reading room
of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story
of pioneering spaces — like P.S. 1,
Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new
generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and
others.
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.
On the secondary market, the specialist continues, «Diebenkorn doesn't come up at auction as frequently as
other artists of his
generation,» partly because West Coast
artists never received as much critical attention as their New York counterparts.
Proposals are evaluated on the basis
of the following criteria, which are weighed equally: How well a project aligns with the MAP Fund's goal
of supporting experimentation and innovation in all traditions and disciplines
of live performance, especially work that brings insight to the issue
of cultural difference, be that in class, gender,
generation, race, religion, sexual orientation or
other aspects
of diversity The artistic strength
of the proposed project The viability
of the project, based on the applicant's professional capabilities as demonstrated in the project narrative, bio and
artist statement, and work samples.
At 19:30 the curator Ofir Dor will offer a final tour through the exhibition with the focus on how the displayed works
of different
generations of Israeli
artists are interwoven with each
other in a complex manner by the theme «body».
The organizer, the American painter and art dealer William Copley, conceived
of it as an intermedia and intergenerational publication, presenting works by an impressive array
of artists, both well - known and emerging, including the Dada and Surrealist luminaries Marcel Duchamp, Man Ray, and Meret Oppenheim; Pop
artists Richard Hamilton and Roy Lichtenstein; composers Terry Riley and La Monte Young; and an up - and - coming
generation of conceptual and post-studio
artists represented by Joseph Kosuth and Bruce Nauman, among
others.
I think that that argument, that line, might very well have led to Wade and lots
of other smart
artists who are making paintings for reasons that are really quite different than the
artists of my
generation.
At the same time, Stone represented, promoted and actively collected the work
of a younger
generation of living
artists, including Robert S. Neuman, Robert Arneson, Dennis Clive, Jack Whitten, Robert Baribeau, James Grashow, Robert Mallary, and Richard Hickam, among
others, whose aesthetic tendencies suggest connections to the historical holdings
of his gallery's collection.
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.
The selling exhibition features 26 works by three
generations of critically recognized contemporary
artists, including Jean Michel - Basquiat (1960 - 1988), Nina Chanel Abney, Derrick Adams, Sanford Biggers, Leonardo Drew, Theaster Gates, David Hammons, Rashid Johnson, Adam Pendleton, Kara Walker, Carrie Mae Weems, Jack Whitten, and Fred Wilson, among
others.
Some present recent work by living
artists spanning several
generations;
others showcase fascinating historical material
of varying vintages.
The performative nature
of the paintings and the
artist's self - awareness on camera recalls Hans Namuth's infamous photographs
of Jackson Pollock's dramatic painting process — images that have defined our understanding
of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal
of the terms
of abstraction that Pollock and
others of his
generation perfected — i.e., the expression
of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male
artist.
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
A dynamic, geometric clarity was certainly the aesthetic goal
of many abstract
artists, but there were
others who worked under the influence
of Surrealism and Expressionism, not to mention the natural landscape that so inspired the first
generation of American abstract
artists.
To nearly everyone's surprise, Stella appreciated Hawkinson as someone who has inexplicably made memorable art from «gestures as lightweight, banal and self - absorbed» as those any
other artist of his
generation practice.
Others were «Take It or Leave It: Institution, Image, Ideology» at the Hammer Museum (2014), which surveyed the use
of appropriation and institutional critique in art from the 1980s; and «Jack Goldstein X 10,000» at Orange County Museum
of Art (2012) which was a retrospective on the
artist who helped initiate an avant - garde art movement referred to as the «Pictures
Generation.»
Like her husband, Gwendolyn Knight preferred creating figural compositions rather than the Abstract Expressionist paintings that
other artists of her
generation embraced.
Thus they spread the way for a new
generation of artists who combine virtual reality with
other media in a seemingly effortless manner, the Internet as their ubiquitous and inexhaustible source
of inspiration.
Emerging in the 1970s as part
of the Pictures
Generation, she established her signature style in the early 1980s, when she began taking pictures
of other artists» works displayed in museums, storage spaces, auction houses, and collectors» homes.
Asserting presence may be a given for many, but for Binion, and
other African American
artists of his
generation, the
artist's presence and their experience was often defined by absence.
In this installment
of our interview focused on non-objective abstraction, a visual language chosen by Alma Thomas, Beauford Delaney, Charles, Alston, Sam Gilliam, Harold Cousins and
other African American abstract
artists of the so - called «first
generation.»
After the news
of his death went viral, Sir Nicholas Serota, the director
of the Tate gallery, stated the following in an attempt to dull the pain
of the loss: Angus Fairhurst was always deprecating about his own talent, but he made some
of the most engaging, witty and perceptive works
of his
generation and was an enormously influential friend
of other British
artists who came to prominence in the early nineties.
2005 The Last
Generation, curated by Max Henry, Apex Art, New York, NY, USA; traveling to Jousse Entreprise, Paris, France Superstars: From Warhol to Madonna, Kunstforum / Kunsthalle Wien, Vienna, Austria The Painted World, P.S. 1 Center for Contemporary Art, Long Island City, New York, USA The Disasters
of War: From Goya to Golub, Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA Post No Bills, curated by Matthew Higgs, White Columns, New York, USA Helga's Art Collection, Museo Extremeno e Iberoamericano de Arte Contemporaneo, Badajoz, Spain The Art
of Aggression: Iraqi Stories and
Other Tales, curated by Jean Cruthchfield and Robert Hobbs, Reynolds Gallery, Richmond, Vancouver, Canada 2004 Editions Fawbush: A Selection, Sandra Gehring Gallery, New York, USA Last one on is a soft Jimmy, Paula Cooper Gallery, New York, USA Bill Adams, Wayne Gonzales, Cameron Martin: Paintings, KS Art, New York, NY Word
of Mouth, A Selection: Part 1, Dinter Fine Art, New York, USA La Lettre Volée, F.R.A.C. Franche - Comté Musée des Beaux - Arts de Dole, France The Freedom Salon, Deitch Projects, New York, USA Bush League, Roebling Hall, Brooklyn, New York, USA Painting (Wayne Gonzales, Roger Metto, Jason Middlebrook, Cristian Rieloff), Galleri Charlotte Lund, Stockholm, Sweden 2003 Parallax Views: Art and The JFK Assassination (Ant Farm & T.R. Uthco, Wayne Gonzales, Eric M. Jensen), Hallwals Contemporary Arts Center, Buffalo, New York, USA 150
artists make 150 T - Shirts, Daniel Silverstein Gallery, New York, USA Cartoon, Riva Gallery, New York, USA Melvins, Anton Kern Gallery, New York, USA 2002 The Presidential Suite, Nassau County Museum
of Art, Roslyn Harbor, New York, USA Gravity Over Time, curated by John Pilson, 1000 Eventi, Milan, Italy From the Observatory, Paula Cooper Gallery, New York, USA Subject Matters, curated by Norman Dubrow, Kravets / Wehby Gallery, New York; Conner Contemporary Art, Washington, USA 2001 How is everything?
His students and successors — such as Jo Ann Callis, Judy Fiskin, and James Welling — have gone on to teach and influence a younger
generation of artists, including Amy Adler, Anne Collier, and Florian Maier - Aichen among many
others.
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.
LeWitt, like no
other artist of his
generation, has always maintained the importance
of the concept or idea and, apart from his original works on paper, the work is executed by
others to clear and strict instructions.
It examines not only the complex aesthetics and personal styles
of Golub and his compatriots — including Cosmo Campoli, June Leaf, Dominick Di Meo, Seymour Rosofsky, and Nancy Spero, among
others — but also uncovers the Monster Roster's relationships with preceding
generations of Chicago
artists and differences from the well - known Chicago Imagists who followed.
Through a selection
of major paintings, sculptures and works on paper spanning nearly a century, Flora, Fauna and
Other Forms
of Life offers a diverse sampling
of the ways in which
artists across
generations have interpreted naturalistic imagery.
«Paint, chairs, food, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand
other things that will be discovered by the present
generation of artists.»
Significant exhibitions include: Andy Warhol's Campbell's Soup Boxes in December 1986, just weeks before the
artist's untimely death; She: Works by Richard Prince and Wallace Berman, brought together, for the first time, two
generations of leading
artists from different coasts; Bruce Conner: Work from the 1970s, which inspired the
artist's first solo retrospective in Europe at the Kunsthalle Wien and Kunsthalle Zurich (2010);
other shows
of important New York - based
artists have included new works by Christopher Wool, Richard Tuttle, Mark Tansey, Kenny Scharf, and Keith Haring.
Like many
others of her
generation in the Bay Area, the
artist also worked in a figurative style in the 1950s and later.
Having garnered an international reputation as one
of the leading
artists to emerge from the New York Pictures
Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and
other banal props; and Walking & Lying Objects, 1987 — 91, a series
of black - and - white photographs
of inanimate objects animated with human legs.