Sentences with phrase «other artists of her generation on»

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.

Not exact matches

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.

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 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.

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.»

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.»

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.

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.

The Harlem Renaissance on the other hand brought forth an entire generation of politically and socially conscious and immensely creative African American artists.

His poetic use of found materials and his embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb the environmental stains of the studio, or exposing the paintings to the forces of weather) can be seen echoed in the work of a subsequent generation of artists, including Joe Bradley, Dan Colen, Urs Fischer, Wade Guyton, and Nate Lowman, among others.

Influential on other artists after Morris Louis and Kenneth Noland first saw her work in the early 1950s, since 2000 her art has inspired a new generation of younger painters such as Carrie Moyer, Jackie Saccaccio, and Mary Weatherford.

The 21 artists on show this year in Venice, chosen from amongst 4,500 entries, include among others the winner of the $ 100,000 Future Generation Art Prize 2017, the South African artist Dineo Seshee Bopape, and the winner of the $ 20,000 Special Prize, Kenyan / British artist Phoebe Boswell.

All four artists were born within six years of each other (1928 - 1933) and their practices offer an opportunity to compare the strong aesthetic influences, interests and objectives their generation shared, despite developing on either side of the Atlantic.

Future instalments may focus on other generations, but this being the New Museum they started with the freshest bunch, the Millennials, artists who were born no earlier than 1976, who came of age amidst far - reaching economic prosperity and who are mobile, global and hyper - connected.

Amended and rearranged after its first installment, the show will explore the impact that Mexico had on Artaud's work, as well as the influences that his creative practice has had on different generations of artists, filmmakers and other cultural practitioners.

On the other hand, I have a show that is opening very soon with Mark Bradford, who is not an emerging artist, but he is actually of my generation, but someone who I've known for many years, and actually have had some of the most important discussions to me about painting over the years, as well as feminism, and queerness, and all kinds of other things that Mark thinks about.

September saw the publication of Four Generations: The Joyner - Giuffrida Collection of Abstract Art, a catalog of unusual scholarly rigor that testifies to the broad, international, and multi-institutional collaboration among curators and historians, artists, dealers, and other collectors whom Joyner has marshaled on her artists» behalf.

Fischli focused on the creative processes of two characteristic representatives of Swiss art: one a celebrated and pivotal master of the transition to Modernism, the other an artist from the post-war generation who brought new ideas to bear following the end of a Modernism become classical.

Perhaps more than any other artist of his generation, Judd shaped the cultural discourse of his time - not only through his radical sculptures, but with his prolific writing on his peers.

Lawler emerged in the 1970s as part of the Pictures Generation — a loosely knit group of artists who used media tactics to critically examine the functions and codes of representation — when she began taking pictures of other artists» works displayed in private collections, museums, galleries, storage spaces, and auction houses, subtly commenting on the sociological use and value of art.

Takamatsu was on the one hand an established artist regarded on a national level, and on the other a challenging one whose work could also be exhibited with the work of a younger generation.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

This show explores the influence of his depictions of ruddy - cheeked, sturdy - limbed, pleasure - seeking peasants and mysterious landscape paintings on the several generations of Bruegels who followed in his footsteps and other contemporary artists.

Rail: Though unlike some of the women artists of your generation, who, out of personal necessity, had to make works that intensified the greater good for the feminist cause, you, on the other hand, were more invested in the organic permutation of how a painting has to have its own growth.

Although often seen as part of the YBA generation of the 1990s, he worked with Derek Jarman on Caravaggio and other 1980s films before emerging as an artist in his own right.

Most painters, regardless of generation, rely heavily on the Internet to find reference images, to research other artists who have trodden similar paths, and to form communities of kindred artistic spirits.

Featuring the work of Sam Gilliam on the cover, a new volume, «Four Generations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amGenerations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amgenerations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, among others.

He was one of a handful of artists who, building on the success of the Baldessari generation, caught the attention of Europe like no other previous and secured once and for all L.A.'s global ascendency — without ever really seeming to try.

She later moved on to a younger generation of American artists, including Agnes Martin, Jasper Johns, Jack Youngerman, Richard Pousette - Dart, Jeanne Reynal, [14] Walter Tandy Murch, Leon Polk Smith, Richard Tuttle, Mino Argento, [15] José Bernal, and Oliver Steindecker (who was Mark Rothko's last assistant)[16] among others.

The group's exhibitions, which took place in Chicago and other cities between 1966 and 1969, drew national and international attention and went on to influence generations of artists.

Like no other artist of his generation he 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.

Often the artistic peaks on display have been obscured over the years by other more famous cycles in an artist's output, or by the work of headline grabbing younger generations.

LeWitt, like no other artist of his generation, had 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.

On the other side of America, a different generation of artists would begin to develop a radical formation of blackness, detached from strategies of representation.

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