Sentences with phrase «old artist began»

When the 39 - year - old artist began writing the manga in 2001, he was a mere 24 years old.

Not exact matches

In this issue, Leisenring's old friend and companion angler, Vernon Hidy, in collaboration with Champion Fly Caster Johnny Dieckman and Artist Anthony Ravielli, begins a three - part series on Leisenring's trout - tested techniques based on many lessons learned from him at streamside

The LA native began her career at only 18 - years - old with the pop - rock band The Blank Tapes, managed to hop on tour with some pretty impressive artists, and obtain a BFA from CalArts.

He began his career as a martial artist at only six years old, when he began to train at Fabiano's Karate School in Holland, Michigan.

Brown's budding acting career began in March 2010, at the age of five years old when he had the opportunity to work with local Chicago independent playwrights and artists in several theatrical productions.

One might expect an artist to begin by emulating the old masters and then progress into more innovative work, yet Kovacs followed the opposite trajectory: his influential spoofing of TV (which seems so old hat now) gradually gave way to a dazzling talent for classically constructed sight gags (which, parodoxically, seem totally fresh).

When Jerome, a young artist on a remote island retreat, discovers the old man's body frozen in the ice later that winter, the rich narrative tapestry of A Map of Glass begins.

Brian Michael Bendis and artist Andrea Sorrentino recently revisited the devastated world in their «Old Man Logan» miniseries for the current «Secret Wars» event, which began with the title character leaving his home reality (now part of the Doom - created Battleworld) and concluded with the older Wolverine suddenly finding himself on the streets of the All - New, All - Different Marvel Universe.

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.

As with the older generation of German artists, Gerhard Richter comes to mind, Wolfgang Tillmans secures a deeper engagement with abstraction, beginning with the important work Sendeschluss / End of Broadcast I 2014.

Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as Wall Street money begins to encroach on the old gallery system and change the economics of the art world.

Hume is a twenty - nine year old British painter and one of a small number of provocative young artists who began to exhibit their work in London in the past few years.

The show received favorable reviews, and, as Judith Wilson writes, «in rapid succession, mainstream art - world doors began opening to the twenty - six - year - old artist.»

Born in the mid-late 2000s as its older sister Williamsburg to the West began to professionalize, this noisily industrial, dirty artist haven got a reprieve from gentrifying forces when the deep recession slowed the rise of rents for artist spaces, which remained still relatively cheap by Manhattan's standards.

Alex Hay, an artist best known for his paintings of the 1960s, and who after a long hiatus began to exhibit his work again in the last two years, will be represented by a painting shown for the first time entitled Old Green 05.

Still & Art begins with Still's acknowledgment of Old Masters he admired (among them Leonardo da Vinci, Rembrandt, J.M.W. Turner, and Vincent van Gogh); progresses to his interrogation of near - contemporaries such as Max Ernst and Pablo Picasso; and concludes with epic canvases, pastels, and photographs that reveal the artist meditating on his own past production as well as the spirit of color - field painting, minimalism, and comparable avant - garde movements of the 1960s and»70s.

In January, Irish artist Stephan Hall and partner Li Li Ren created a replica of the Fourth Plinth on Munich's Wittelsbacherplatz (the plinth was later retrofitted into a one - room apartment by Alexander Laner); Elmgreen & Dragset's own It's Never Too Late to Say Sorry (2011/13, in which an older man shouts the phrase through a silver megaphone on Odeonsplatz, not far from where Hitler's Beer Hall Putsch occurred, each day at high noon) began in March.

It began with a Chelsea show for Andrew Stahl, an old friend of Oliver's who is an artist and the head of undergraduate painting at the Slade School of Fine Art in London.

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!

So the artist began to mix the three influences — the attitude of musicians like Simone and Davis, the iconic style of old world European painting, and the everyday black folks he knew from the neighborhood or saw strutting through the streets — in a distinct visual style that has been referred to as «cool realism.»

The works of 24 women in this exhibition become «windows» through which the artists and onlookers can observe the passing of the old century and the beginning of a new millennium.

The art form had pretty much died out by the time artist Joan Sallas began studying centuries - old illustrations and taught himself how to re-create them.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

From its beginning, the Pulitzer has presented a wide range of exhibitions featuring art from around the world — from Old Masters to important modern and contemporary artists — and exploring a diverse array of themes and ideas.

Every element in an exhibition of work by Peter Liversidge begins at the artist's kitchen table with Liversidge sitting alone writing proposals on an old manual typewriter.

Working under the name SAMO meaning «same old same old,» Basquiat began his career in the late 1970s as a graffiti artist, spray - painting the streets of lower Manhattan with messages about commercialization of the art world.

Frieze, for instance, has recently begun devoting an entire section of their art fair to older female artists — a decision that was undoubtedly the result of buyer interest.

When he was eight years old he suffered an accident and during a three - month convalescence began to draw and make sculpture — a pastime driven by a talent that earned him a scholarship to the American Artists School, in Greenwich Village, when he was just 14 years old.

The Modern snatched up a painting, The Desert, in 1940, when the older artists around him were just beginning to remap modern art with New York at its center.

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.

In a catalogue essay written to accompany an exhibition of paintings by Patrick Scott held in Dublin's Douglas Hyde Gallery in May 1981, the artist's old friend, art critic Dorothy Walker began by referring to his «exquisite aesthetic sensibility.»

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.»

My first solo show, part of BOOM in Bushwick, is a homage to good old Windows 95 days and all that has transpired since, celebrating the root of my career as an artist by painting my digital beginning, along with remixed nostalgia of screensavers and GIFs.

CARBON 13 presented in conjunction with «The Marfa Dialogues: Politics and Culture of Climate & Sustainability» Artists: Ackroyd & Harvey, Amy Balkin, Erika Blumenfeld, David Buckland, Adriane Colburn, Antony Gormley, Cynthia Hopkins, Sunand Prasad Participants: Hamilton Fish, Diana Liverman, John Nielsen - Gammon, Michael Pollan, Robert Potts, Tom Rand, Rebecca Solnit Curated by David Buckland «I think of art, at its most significant, as a DEW line, a Distant Early Warning system that can always be relied on to tell the old culture what is beginning to happen to it.»

He began his apprenticeship as a 19 - year - old in a building full of artists» studios on La Giudecca in Venice, run by the Italian painter Carmelo Zotti.

He continues, «As world conditions became increasingly complicated and the war spread over the world, the Northwest artists began to question the old ironclad conceptions.

Even later in his long career, as other artists began to adopt Abstract Expressionism, he continued to work slowly and methodically in a realist mode, drawing inspiration from both the old Victorian houses of small New England towns and the mundane, quotidian world of the city, featured in such famous paintings as the Art Institute's Nighthawks.

Beginning with the more traditional «Old Master» aesthetic that Turner quickly matched and then superseded, the exhibition charts the impact made by the artist's experimental techniques.

One of the older galleries in Hong Kong, CONNOISSEUR ART GALLERY (1 Hollywood Road, G3 Chinachem Hollywood Centre, Central) began in 1989, dedicated to expanding the reach of Chinese contemporary artists.

Artist Donald Sultan's career began with his first solo exhibition in 1977 in New York City, when he was just 26 years old, and he rose to prominence in the 1980s.

Through various practices this group of artists tries to grasp at an ever - changing present and find the conflicts that occur where a new situation begins to overtake the old.

A monumental mobile by Alexander Calder, one of the 20th century's great artists, began to disappear from its decades - old home in Willis Tower's lobby Monday, headed for an art storage facility and an uncertain future because of a legal dispute over...

Born in the mid-late 2000s as it's older sister Williamsburg to the West began to professionalize, this noisily industrial and dirty artists haven got a -LSB-...]

As these artists get older, as they begin to pass on, the need to work with them becomes more urgent.

Tim, who begins in his post today, has been an admirer of the 142 - year - old art institution since he first read about it as a young artist in Southern California.

After her two daughters were born, she began studying traditional painting at The Lyme Academy of Fine Artists in Old Lyme, Connecticut.

Sandra Blow's obsession with abstract forms began in the late 1940s: while motorbiking around postwar Italy, the aspiring 22 - year - old painter met Alberto Burri, the artist and former POW who, bereft of pigment, made art from sacking and cement.

Arnett said Dial began pulling works out of an old poultry house the first time he visited the artist.

Sadie Benning began experimenting with video at fifteen years old, inspired to express herself and the obstacles she faced in her identity as a queer artist.

I pondered the question throughout a day of fresh starts that began at Emmanuel Perrotin, two blocks south of the Breuer, with a preview of a show by Erró, the eighty - four - year - old Icelandic Pop artist who is yuge in France but virtually a stranger to Americans — except for Carolee Schneemann.