Sentences with phrase «portraits the artist not»

Through these absurd, borderline - grotesque portraits the artist not only establishes an immediate rapport with her viewer but makes a remark on societal pressures to attain the unattainable.

Not exact matches

But this isn't simply a Portrait of the Artist — for Artists (or would - be Artists) only.

He told Dean Church that the famous Richmond portrait lacked something because the artist «could not draw [him] out».

Crack the code and you can read the messages, but as a hint, Venter revealed the quotations: «To live, to err, to fall, to triumph, to recreate life out of life,» from James Joyce's A Portrait of the Artist as a Young Man; «See things not as they are but as they might be,» which comes from American Prometheus, a biography of nuclear physicist Robert Oppenheimer; and Richard Feynman's famous words: «What I can not build I can not understand.»

But in addition to making me laugh, hard, at a time when cathartic laughter is all but a medical necessity, this portrait of the artist as a not - so - young weirdo struck me as peculiarly moving.

While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement (Cave has given several long - form lectures on the peculiar metaphysics of songcraft), it's unlikely that many who aren't already whole - hog Bad Seeds fans would be able to stomach much of Cave's self - styled pomposity.

Although it stumbles a bit at the end with a self - aware redemption that isn't entirely earned or particularly in character, Diamond Tongues is still a brilliant and realistic portrait of the young artist as a bitter borderline failure.

In addition, the excellent selection of documentaries continued with the moving and mesmerising Marina Abramovic: The Artist is Present, damaging drug war dissection The House I Live In and enthralling cultural portrait This Ain't California.

Carl Van Vechten & the Harlem Renaissance: A Portrait in Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as Portrait in Black & White By Emily Bernard Yale University Press Hardcover, $ 30.00 372 pages, Illustrated ISBN: 978 -0-300-12199-5 Book Review by Kam Williams «This book is a portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as portrait of a once - controversial figure... a white man with a passion for blackness... [who] played a crucial role in helping the Harlem Renaissance... come to understand itself... Carl Van Vechten has been viewed with suspicion... [as] a racial voyeur and sexual predator, an acolyte of primitivism who misused his black artist friends and pushed them to make art that fulfilled his belief in racial stereotypes... While his early interest in blackness was certainly inspired by sexual desire and his fascination with what he perceived as black primitivism, these features were not what sustained his interest... More important [was] his conviction that blackness was a central feature of Americanness... Van Vechten's enthusiasm for blacks may have catapulted many careers, but at what cost to the racial integrity of those artists, and to the Harlem Renaissance as a whole?

Ultimately, Final Portrait isn't much of a biography, a character study, a joke, or an examination of the mind of an artist.

Not a biography by any conventional definition this is a freewheeling Bob Dylan portrait where his name is never spoke, his life and career is represented by six different actors representing various personas, and the songs and stories (real and imagined) and mysteries of the artist are as important as any historical record.

Not since 2011's «The Artist» has one film claimed both the Picture and Director accolades, and like «Birdman,» «Artist» was also a bittersweet love letter to show business and an audacious portrait of a tormented artist in transformArtist» has one film claimed both the Picture and Director accolades, and like «Birdman,» «Artist» was also a bittersweet love letter to show business and an audacious portrait of a tormented artist in transformArtist» was also a bittersweet love letter to show business and an audacious portrait of a tormented artist in transformartist in transformation.

An artist as yourself surely understands how challenging it is not to be able to finish a piece of work, like Giacometti did with The Final Portrait.

Film Editors Spencer Averick — «13th,» «Selma» Alexandre de Franceschi — «Lion,» «Bright Star» Keiko Deguchi * — «God Knows Where I Am,» «Fur: An Imaginary Portrait of Diane Arbus» Tracy Granger — «Still Life,» «Boys Don't Cry» Sabine Hoffman — «Maggie's Plan,» «Elvis & Nixon» Edie Ichioka — «The Boxtrolls,» «Toy Story 2» Janus Billeskov Jansen * — «The Hunt,» «The Act of Killing» Céline Kélépikis — «The Red Turtle,» «Now or Never» Melissa Kent — «American Pastoral,» «The Age of Adaline» Juan Carlos Macías — «Wild Horses,» «The Official Story» Jim May — «Goosebumps,» «The Chronicles of Narnia: The Lion, the Witch and the Wardrobe» Fredrik Morheden — «A Man Called Ove,» «The New Country» Christopher Murrie * — «Kubo and the Two Strings,» «Coraline» Tania Michel Nehme — «Tanna,» «Charlie's Country» Tia Nolan — «Annie,» «Friends with Benefits» Anne Østerud — «The Hunt,» «The Girl with the Dragon Tattoo» Gregory Perler — «Sing,» «Despicable Me» Jacopo Quadri — «Fire at Sea,» «The Dreamers» Fabienne Rawley — «Zootopia,» «MonsterHouse» Jake Roberts — «Hell or High Water,» «Brooklyn» Hayedeh Safiyari — «The Salesman,» «A Separation» Nat Sanders — «Moonlight,» «Short Term 12» Per Sandholt — «Land of Mine,» «A Funny Man» Suzanne Spangler — «Imperial Dreams,» «Smashed» Molly Malene Stensgaard — «Land of Mine,» «Melancholia» Alexandra Strauss — «I Am Not Your Negro,» «A Pigeon Sat on a Branch Reflecting on Existence» Christian Wagner — «The Fate of the Furious,» «Furious Seven» Monika Willi — «Amour,» «The Piano Teacher» Kate Williams — «The Whole Truth,» «Frozen River» Dan Zimmerman — «The Dark Tower,» «The Maze Runner» Lucia Zucchetti — «Their Finest,» «The Queen» Eric Zumbrunnen — «Her,» «Adaptation» Makeup Artists and Hairstylists Richard Alonzo — «Star Trek Beyond,» «Alice in Wonderland» Alessandro Bertolazzi — «Suicide Squad,» «Fury» Christine Beveridge — «The Monuments Men,» «Under the Skin» Felicity Bowring — «Gold,» «Tinker, Tailor, Soldier, Spy» Jerry DeCarlo — «Carol,» «Julie & Julia» Patricia DeHaney — «Sully,» «Interstellar» Naomi Donne — «Cinderella,» «Philomena» Linda Dowds — «RoboCop,» «Rampart» Audrey Doyle — «Legend,» «Mad Max: Fury Road» Tina Earnshaw — «The Promise,» «Titanic» Rick Findlater — «L'Odyssée (The Odyssey),» «The Hobbit: An Unexpected Journey» Paul Gooch — «Miss Peregrine's Home for Peculiar Children,» «Maleficent» Fae Hammond — «Fantastic Beasts and Where to Find Them,» «The Legend of Tarzan» Miia Kovero — «Inherent Vice,» «The Master» Michael Marino — «American Pastoral,» «The Wrestler» Frances Mathias — «Saving Mr. Banks,» «Beginners» Christopher Nelson — «Suicide Squad,» «Frank Miller's Sin City» Elaine Offers — «The Kids Are All Right,» «Far from Heaven» Conor O'Sullivan — «The Dark Knight,» «Saving Private Ryan» Daniel Phillips — «Florence Foster Jenkins,» «The Queen» Luigi Rocchetti — «Ben - Hur,» «The Nativity Story» Morag Ross — «Hugo,» «The Aviator» Nikoletta Skarlatos — «Free State of Jones,» «The Hunger Games: Mockingjay (Parts 1 & 2)» Vittorio Sodano — «Il Divo,» «Apocalypto» Shane Thomas — «The Dressmaker,» «Hacksaw Ridge» Kenneth Walker — «Loving,» «For Colored Girls» Kerry Warn — «The Great Gatsby,» «Australia» Carla White — «Hands of Stone,» «August: Osage County» Ann Pala Williams — «Live by Night,» «Click» Jeremy Woodhead — «Doctor Strange,» «Snowpiercer»

The film does not, however, cascade into an overly sentimental portrait of these two artists.

Actors, fellow artists and filmmakers, children and former wives — everyone Pappi Corsicato interviewed for his new documentary, «Julian Schnabel: A Private Portrait,» has come to praise the man, not to bury him.

Bill Pohlad, a producer who has overseen such films as Brokeback Mountain, Into the Wild, Tree of Life, and 12 Years a Slave, as well as the musically inclined biopic The Runaways, makes his directorial debut (technically a sophomore effort as his original debut was canned in the early 1990s) with a biopic of The Beach Boys» Brian Wilson that, while not a perfect film, is an interesting and sometimes illuminating portrait of an artist as a young and older man.

The film, like «Fink,» is a sort of portrait of the artists as young men, and anyone who has, or had, creative ambitions will identify with Davis, who is talented enough to acquit himself (Isaac's performances are excellent: he's arguably better than the character is meant to be), but probably not enough to move up to the next level (like Garrett Hedlund, now that we think about it...).

Final Portrait doesn't paint anything new with its focus on the troubled Giacometti, but it does situate itself as an actor's showcase for its sprightly cast as they attempt to harness the manic world of Giacometti, and ultimately present him as an artist of merit whose own fear of mortality and perfectionism kept him from doing more.

Though the mileage on its provocation will vary, he's not wrong, even if it feels like artists of color are in a unique position (if by no means must they bear the responsibility) to create reflexive portraits of the way in which their work has been absorbed and commoditized by the white mainstream.

Not primarily a portrait artist, her paintings focus on the subtleties within human interactions with others and the human experience in general.

Or maybe a talented artist with empty pockets who can't paint their first portrait because they can't afford the tube of paint?

Sure, it's a great «on ramp» to reading and understanding Joyce — a not - too - taxing wend around middle class, turn - of - the - century Dublin — providing a necessary set - up for A Portrait of the Artist as a Young Man then Ulysses (read in that order if you can).

On the demon side, the unfortunate reality of just how much effort would be needed to produce portrait art for every single demon means that there's a wild mixture of art from older games, newer games, games in between those games, and brand - new monstrosities created not only by Doi himself, but also various guest artists from the world of tokusatsu media (Japanese live - action fare like Godzilla, Kamen Rider, and Ultraman).

There are many portrait photographers in the community, and many crafters; but not too many artists who utilize photography, and paint.

Firestone charges $ 15,000 to $ 20,000 per portrait — more than 20 percent of which goes to charity, she says — but on at least one occasion she told a potential customer that she wasn't the artist for the job.

The agency of the artist in the set - up of the image also comes to the fore in Linder's disturbing portrait You Search But Do Not See (1981 - 2010) where she appears to be almost suffocating in a plastic bag.

Still, here in a self - portrait from 1940, is credited with being among the first artists to develop expressionist abstraction not based on geometry.

Gives you insight into how one professional artist goes about the process of creating a magnificent portrait, one that not only displays the subject realistically, but also somehow shows you the soul and mood.

This makes you wonder: why don't the influential patrons of today have a craving for portraits, of themselves or loved ones or even (as Frick and other Gilded Age collectors of artists such as Van Dyck and Gainsborough clearly did) of sufficiently high - status people in general?

Sean Kelly has a show of photographs by Robert Mapplethorpe, but not the troublemaking kind; the ones here are all luminous portraits of famous artists, including Willem de Kooning, Lee Krasner and Robert Rauschenberg.

How have artists used the portrait not merely as a means of picturing human subjects, but also as an active and mutable space for identity formation and performance?

He was the drip painter who never abandoned the brush or the easel, the portrait painter who could not resist a joke, the landscape artist who could not resist flesh, and the survivor with Alzheimer's who still tried to capture form and pleasure.

Though the late painter is best known for portraits of pregnant women and fellow artists like Andy Warhol, Neel had another side to her work: an appreciation for the many diverse people around her, especially those outside of her own milieu, that has not only spoken to Als since he was a teen, but become increasingly poignant now, in Trump's America.

The portraits don't cast shadows; they reveal facets — often more profound than we might expect from this artist — that otherwise might have remained unknown.

Many of them are significant figures, but not widely known, such as scholar and social critic Harold Cruise (whose portrait graces the cover of the catalog); artist Faith Ringgold; Ron Kajiwara, a graphic designer at Vogue magazine; and civil rights activists James Farmer and Hugh Hurd, who was also an actor.

The artist does not paint portraits of real people, rather she depicts people she has conjured up — fully formed subjects who appear to have complicated, interesting lives and deep backstories.

His selection of artists» portraits in his latest exhibition suggests not

The paintings are not portraits of specific people, but the artist often uses the same facial shapes and motifs as a starting point for painterly exploration, such as in Shared Borders and Shared Space.

The catalog closes with a two - page spread of his 2017 lifesize sculpture, Horse in Pajamas, not to be outdone by the book's portrait of the artist with his enormous dog, Fanny.

So I thought, why not use my USA Artists grant to create a portrait of George Church, a documentary about this process, and embed it in DNA?

Maureen Bray: It's not just a portrait of an individual artist, but really a portrait of New York during this period of time.

Ahead of Pallant House's reassessment of David Bomberg next month, don't miss the chance to see the artist's works at the Boundary Gallery and Waterhouse & Dodd, which offers Portrait of Austen St Barbe Harrison from 1931.

She did not just paint the well - known and / or the well - born, though there are portraits of Warhol, poet Frank O'Hara, artists Robert Smithson, and Benny Andrews, as well as shapers of the art status quo like Henry Geldzahler, an influential curator at The Metropolitan Museum of Art, and Elinor Poindexter, an influential gallery owner.

Though you may not know anything about Shields» biography, you know all you need to know from the portrait: the intensity of the eyes, the distant gaze, the lines of worry in his face, the coiled arm and thumb locked into his pants» loop, as though he had something urgent that needed doing after the sitting for the artist was done.

Tellingly, Mason is known for her color field abstractions; it would appear that in these portraits of her fellow artists, Marcus captured not only their likenesses, but also something of their artistic identities.

Alice Neel was not the sort of artist people turned to for vanity portraits, because her paintings revealed much more than her subjects likely wanted.

One artist I am excited about representing is Louis Savage, who is a talented abstract painter who was forced by his previous gallery to do representational portraits, which resulted in him stepping away from galleries for years, but not his practice.

The agency of the artist in the set - up of the image also comes to the fore in Linder's (b. 1954, UK) disturbing portrait You search but do not see (1981 - 2010) where she appears to be almost suffocating in a plastic bag.

The word snugly adheres itself to the late artist's work like skin, as though humanism could not be found, one way or another, in every portrait of a human.