Sentences with phrase «rather than a painter»

Louise Nevelson was a sculptor rather than a painter, and thus outside TCOP's usual focus, but I saw Albee's play last weekend, and I'm sure all artists will appreciate it.

More than once, he expressed the wish to be a film director rather than a painter, to be someone who could confront rather than reflect.

I knew of Dorothea Tanning and Leonora Carrington as names rather than painters, Claude Cahun or a sculptor named simply Maria as not even that.

No doubt this is partly because of her vocation (she was a Sister of the Immaculate Heart of Mary, which she joined in 1936 and left in 1968), and the fact that she was a printmaker, rather than a painter.

In these paintings, where every form is isolated with a substantial black line, he proves himself to be a graphic artist rather than a painter.

This exhibition highlights some of their work by displaying selected prints and books from the Tozzer Library collection, looking beyond the familiar 19th century white male painters to include women artists, Native artists, and even one living artist.The exhibition also includes artists who were primarily illustrators, designers, and printmakers rather than painters.

Not exact matches

Painter recommends that Congress pass a law right now that would require that when a President or his businesses have specific matters pending before a federal agency — like, say, an Internal Revenue Service audit, or a case before the National Labor Relations Board or the Securities and Exchange Commission, or a licensing issue before the Federal Communications Commission — that the matter must be decided by a career civil servant, rather than by a political appointee.

Rather than using one of those little cartoon decorated ones from the baby store we made our own out of painters drop tarp.

Painters who definitely did make use of φ include the 20th - century artists Louis - Paul - Henri Sérusier, Juan Gris, Gino Severini, and Salvador Dalí; but all four seem to have been experimenting with φ for its own sake rather than for some intrinsic aesthetic reason.

Participants who wore a white coat that they believed belonged to a doctor performed better on an attention test than participants who believed the coat belonged to a painter and participants who simply saw — rather than wore — a white coat while completing the test.

Mr. Turner Mike Leigh's biopic about the English landscape painter J.M.W. Turner further proves why critics love the director — at least for Edelstein, who writes: «The artist biopic is the most laughably overexplanatory of subgenres, but Leigh would rather glide over details than be caught spoon - feeding.

This bland Brooklyn is as gritty as Singing in the Rain's Los Angeles, a scene - painter's chocolate box version, rather than a place teeming with noisy, smelly life.

It's a style that plays on the actors» physicality rather than on their expressiveness; significantly, Bresson (also a former painter) refers to his actors as «models.»

Director Julian Schnabel is also an artist; in fact, he prefers to be known as a painter rather than as a filmmaker.

PAINTERS: If you are submitting samples of fully - painted (traditionally or digitally painted) cover work, keep in mind that Dynamite Entertainment covers tend toward iconic shots of single characters rather than groups of characters or storytelling elements.

Many newbie writers (and other artisitic people ranging from painters to restauranteurs) are ego - driven, rather than market - driven.

The feminist's first reaction is to swallow the bait, hook, line and sinker, and to attempt to answer the question as it is put: i.e., to dig up examples of worthy or insufficiently appreciated women artists throughout history; to rehabilitate rather modest, if interesting and productive careers; to «re-discover» forgotten flower - painters or David - followers and make out a case for them; to demonstrate that Berthe Morisot was really less dependent on Manet than one had been led to think — in other words, to engage in the normal activity of the specialist scholar who makes a case for the importance of his very own neglected or minor master.

«the canvas began to appear to one American painter after another as an arena in which to act - rather than as a space in which to reproduce, redesign, analyse or «express» an object, actual or imagined.

Ultimately Müller's painter, like Goethe's Faust, is saved rather than damned.

After all, there are few areas that are really «denied» to men, if the level of operations demanded be transcendent, responsible or rewarding enough: men who have a need for «feminine» involvement with babies or children gain status as pediatricians or child psychologists, with a nurse (female) to do the more routine work; those who feel the urge for kitchen creativity may gain fame as master chefs; and, of course, men who yearn to fulfill themselves through what are often termed «feminine» artistic interests can find themselves as painters or sculptors, rather than as volunteer museum aides or part time ceramists, as their female counterparts so often end up doing; as far as scholarship is concerned, how many men would be willing to change their jobs as teachers and researchers for those of unpaid, part - time research assistants and typists as well as full - time nannies and domestic workers?

That's always what interested me, even when I was a very young painter... I decided if I was going to talk about paintings in which you were seeing reality... talk about the act of observation, I had to get closer to how I observed rather than just use as a model how everyone else observed.

In a provocative article titled «The Curious Case of Contemporary Ink Painting» (Art Journal, Fall 2010), art historian Joan Kee has recently suggested that despite being chosen to represent South Korea in international biennials in the 1960s, Suh and other Mungnimhoe painters were marginalized in their own country by being classed as «ink painters» rather than as contemporary artists.

In her delightful essay, «Why Abstract Painting Still Matters,» Laurie Fendrich asserts that «abstract painters ought to celebrate loudly, rather than apologize for, the convention - bound nature of their artwork.»

There isn't time for polish and refinement and painters tend to celebrate paint application rather than conceal it.

However, few have taken Lippard's statement literally, which is to say viewing Reinhardt as a «sixties painter» rather than as a «sixties artist.»

Rather than reconsidering the concept of the lady painter, this exhibition is an apt attempt at removing the distinction altogether; it gives us a moment of reflection and discovery.

«I discovered him when he was only 21,» she said, noting, like a proud parent, that in college he studied art history rather than studio art, «because he was already a painter.»

From the lyric, dark grisaille of Gorky's inner landscapes it grew to epic stature: In 1952 art critic Harold Rosenberg observed that «at a certain moment the canvas began to appear to one American painter after another as an arena in which to act, rather than as a space in which to... «express» an object, actual or imagined.

This year's results included Andrew Masullo, one of the very few painters in the Biennial — but from Steven Zevitas, a Boston dealer, rather than Feature Inc. on the Lower East Side (and Masullo himself works in San Francisco).

Rather than offering expansive photographic vistas as Ansel Adams did in the 20th century or Luminist water views à la the 19th - century painter John Frederick Kensett, Beeferman confronts viewers with photomechanical snippets of rocks, water and sand.

Rather than unpacking a bag of tricks, which seems true of many stylish postmodern abstract painters, a sense of urgency comes across in these works.

An artist of my acquaintance wonders whether Nozkowski's abraded surfaces are too good to be true; whether they are manipulated, in the manner of a faux - finish house painter, rather than arrived at.

Park realized that concentrating on principle and abstraction drew attention to the painter rather than the painting.

I would encourage students to attend our MFA program if they wish to paint in an open and interdisciplinary environment rather than staying within a community of painters.

So, one thing artists can do in response to such a situation is to put out a new body of work with lower prices — if you are a painter, you might create a new series of drawings, for example — and get those out and into the market, rather than having to lower the prices of your existing body of work.

Critics these days often see art as rather less liberating than painters like to think.

For Pollock and his fellow painters, process was used primarily to express personal feelings, rather than to explore the materials and forms of the artwork itself.

Some painters vanish, because they worked in France's interiors rather than on American city streets.

Painters could now accord a growing middle class its art, rather than just kings, sultans, and Turkish slaves.

These painters focused on depicting contemporary life through innovative figurative works, rather than the abstraction, minimalism, and conceptualism that dominated contemporary art at the time.

Many senior painters achieved a «national treasure» status while remaining true to the tenets of experimentation, and provided a generational bridge rather than a gap.

He had noticed, however, that «at a certain moment in time, the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, re-design, or «express» an object.»

Art has become more of a financial investment, rather than an aesthetic one, especially in the case of great living American painters, but a commercial gallery is not an auction house or a shop.

At Pratt, he studied with some of the foremost figurative painters of the day including Richard Lindner, Philip Pearlstein and Alex Katz, but it was painter Richard Bove who encouraged Williams to work from intuition and memory rather than from observation.

Aligning himself with the 9th Street group of Abstract Expressionist painters rather than the photographers working in this period, his work was exhibited alongside such luminaries as Franz Kline, Willem de Kooning, and Barnett Newman.

Rather than resist the flotsam and jetsam floating around inside their minds in search of some pure, uncontaminated language that might wash it away, as so many of their avant - garde forebears from Kandinsky to the Surrealists to the Color Field painters had done, the Pop artists accepted it.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Frankenthaler's reputation as a painter rather than printmaker is consistent with other Abstract Expressionist artists who also worked in printmaking: Pollock, De Kooning, Johns, Mitchell.

CA: The way you compare painting and dance makes me think of course of the often - quoted description of the Abstract Expressionists by Harold Rosenberg, «At a certain moment the canvas began to appear to one American painter after another as an arena in which to act — rather than a space in which to reproduce, redesign, analyze or «express» an object, actual or imagined.

Rather than simply stretching a few old rags (or floor tarps, as many painters have done), however, Wayne painstakingly creates objects that reference the paint - soaked cloths.