Sentences with phrase «other generations of artists»

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.

A roundtable discussion with artists a generation or two removed from those featured in Other Primary Structures, whose work — primarily in sculpture — comes out of a Minimalist tradition.

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.

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