Sentences with phrase «sculptor at art school»

What advice would you give to a young artist training to be a sculptor at art school?

Not exact matches

Tim was born in London in 1961 and fancied himself a sculptor as a youth, going so far as to study at the Camberwell School of Art in London.

An imaginative sculptor known for his skillful handling of material and metaphor, Modisakeng first turned heads with his BFA exhibition of wood - carved bullhorns, snuff boxes, and a large Claes Oldenburg - like slip - joint knife at Cape Town's Michaelis School of Fine Art in 2009.

In spring of his last semester at Yale, assists sculptor Naum Gabo for three months in printing two editions of etchings; Gabo shows Mazur the wood - engraved monoprints he is printing by hand; receives M.F.A., School of Art and Architecture, Yale University; begins teaching printmaking, life drawing, and anatomy at the Rhode Island School of Design, Providence; daughter Kathe is born in Providence; solo exhibition: Jill Kornblee Gallery, New York (also 1963 and 1966).

'' Join us for the unveiling of the landmark artwork, «Symphony in DC Major,» commissioned by City Market at O and created by renowned sculptor and third - generation Washingtonian, Zachary Oxman, The massive three - part sculpture, occupying an entire city block, pays tribute to Shaw's storied history, portraying prolific composer, jazz musician, and DC native Edward «Duke» Ellington; neighborhood namesake and abolitionist Union Army Colonel Robert Gould Shaw; and renowned American Expressionist painter and Shaw Junior High School art teacher, Alma Thomas.

An important and very original sculptor, was once married to Richard Serra, whom she met at Yale School of Art in the early 1960s).

One of Whiteread's early champions was fellow sculptor Alison Wilding, who had taught Whiteread at both the Slade School of Fine Art and what was then Brighton Polytechnic.

One of Britain's most original and inventive sculptors, Penelope Curtis, former director of Tate Britain, has described Flanagan as «a maverick figure but a maverick who was absolutely central to the artistic conversation of the 1960s and 70s».2 One of the influential generation of artists studying at St Martin's School of Art in the early to mid-1960s, Flanagan reacted against the formal rigidity of sculpture at that time, challenging the nature of the medium and contributing to a new understanding of the practice.

A sculptor and saxophonist, Mr. Adkins was at his death a professor of fine arts at the University of Pennsylvania School of Design.

Part of the Crisis of Brilliance generation at the Slade School of Fine Art, his contemporaries included Paul Nash and Isaac Rosenberg and, after his expulsion for being too radical, he travelled to Europe with avant - garde sculptor Jacob Epstein, where he met Pablo Picasso.

Artists participating in the first annual Artist Members exhibition include Zella de Milhau, an engraver who first came to Southampton to study with William Merritt Chase at his Summer Art School in Shinnecock Hills, and East Hampton Village residents John H. Jewett and his wife Maude Sherwood Jewett, the sculptor, among others, according to Miller.

From the 1950s to the 1970s, when he taught at St Martin's School of Art, he inspired a new generation of contemporary artists and sculptors including Philip King, William Tucker, Richard Long, Barry Flanagan, Gilbert and George, Richard Deacon and many more.

In those early years, the late George Fullard — Barlow's tutor at Chelsea School of Art, where she studied from 1960 to 1963 — was a fount of wisdom, telling her inter alia that fluent drawing came when you were tired, and passing on French sculptor Germaine Richier's advice that you should be careful of clay because it was almost too responsive.

Arny Nadler is a sculptor and associate professor at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, where he chaired undergraduate art from 2013 - 2018.

Recalling a lecture given by Claes Oldenburg at Chelsea School of Art, the British sculptor David Nash describes how the talk stimulated ideas relating to his own artistic practice.

The jurors for thee - dimensional art — which includes such media as sculpture, clay, jewelry, and fiber — were Dagmar Painter, curator of Gallery Al - Quds at the Jerusalem Fund and a nominator for the Smithsonian Artist Research Fellowship program; mixed - media artist Maria Karametou, an associate professor in the George Mason University School of Art; and Rick Wall, a sculptor and educator with the Corcoran College of Art and Desiart — which includes such media as sculpture, clay, jewelry, and fiber — were Dagmar Painter, curator of Gallery Al - Quds at the Jerusalem Fund and a nominator for the Smithsonian Artist Research Fellowship program; mixed - media artist Maria Karametou, an associate professor in the George Mason University School of Art; and Rick Wall, a sculptor and educator with the Corcoran College of Art and DesiArt; and Rick Wall, a sculptor and educator with the Corcoran College of Art and DesiArt and Design.

Following her art education in Germany in the 1950s Frömel moved permanently to Ireland in 1955 with her new husband the sculptor Werner Schürmann whom she had met at Art School in Muniart education in Germany in the 1950s Frömel moved permanently to Ireland in 1955 with her new husband the sculptor Werner Schürmann whom she had met at Art School in MuniArt School in Munich.

While at art school in Munich, Frömel met the young sculptor Werner Schürmann.

He studied art at the Rhode Island School of Design, then as an apprentice with sculptor Robert Lamb.

Director of Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, sculptor Maren Hassinger creates «installations, videos, performances and public artworks that deal with equality and our changing relationship to nature.»

She won a scholarship to Leeds Art School at the age of sixteen and met fellow sculptor Henry Moore there.

Lamis then moved to New York where he enrolled at Teachers College at Columbia University and taught art at a high school in Locust Valley, Long Island, which was attended by the children of sculptor Richard Lippold.

She trained as a sculptor at the Glasgow School of Art (MA and BA) and also has an MA in philosophy from the same sSchool of Art (MA and BA) and also has an MA in philosophy from the same schoolschool.

Talk: «Public Art Fund Talks: Fiona Banner» at the New School One of the Young British Artists that came to international attention in the 1990s, Fiona Banner is a sculptor and video - and installation - artist making text - based works that cleverly comment on technology and popular culture.

Trained as a sculptor at Nottingham School of Art and the Royal College of Art, Mary Gillick (1881 - 1965) won a competition in 1952 that would see her sculpture in everyone's pocket: her portrait of Queen Elizabeth II was chosen for British and Commonwealth coinage.

1969 0 Objects, 0 Painters, 0 Sculptors, 4 Artists..., Seth Siegelaub at McLendon Building, New York, US One Month Exhibition, Seth Siegelaub Contemporary Art, New York, US Op Losse Schroeven / Situaties en Cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdam, NL (Verborgene Strukuren), Folkwang Museum, Essen, DE When Attitudes Become Form, Live in Your Head, Kunsthalle Bern, Bern, CH; Museum Haus Lange, Krefeld, DE 18» 6» x 6» 9» x 11» 2 1/2» x 47» x 11 3/16» x 29» 8 1/2» x 31» 9 3/16», San Francisco Art Institute, San Francisco, California, US; traveled to Simon Fraser Center for Communication and the Arts, Simon Fraser University, Vancouver, CA No. 7, Art Workers Federation Benefit, organised by Lucy Lippard, Paula Cooper Gallery, New York, US May - June 1969, Center for Communication and the Arts, Simon Fraser University, Vancouver, CA Language III, Dwan Gallery, New York, US July, August, September 1969, Seth Siegelaub Contemporary Art, New York, US Conception, Perception, Eugenia Butler Gallery, Los Angeles, California, US 0 - 9, Issue # 6, New York, US Wall Show - Part 1, Ace Gallery, Los Angeles, California, US When Attitudes Become Form, Institute for Contemporary Art, London, UK Place and Process, Edmonton Art Gallery, Edmonton, CA; Kineticism Press, New York, US 557,087, Seattle Museum of Art, Seattle, Washington D.C., US Prospect 69, Stadtische Kunsthalle Düsseldorf, Düsseldorf, DE Project Class, Nova Scotia College of Art and Design, Halifax, CA Konzeption / Conception, Stadtisches Museum Leverkusen, Schloss Morsbroich, DE Groups, The Visual Arts Gallery, School of Visual Arts, New York, US Pläne und Projekte als Kunst (Plans and Projects as Art), Kunsthalle Bern, Bern, CH Art Without Space, WBAI - FM, New York, US Art in Process IV, Finch College Museum of Art, New York, US Mail Exhibition, Nova Scotia College of Art and Design, Halifax, CA

The founder of British Pop - art, Paolozzi trained at the Edinburgh College of Art (1943), St Martin's School of Art (1944), and at the Slade School of Art (1944 - 1947), before working in Paris, France (1947 - 1949) where he met and became influenced by a number of famous artists, including the Swiss sculptor Alberto Giacometti, the former Dadaist and Surrealist Jean Arp, the Romanian sculptor Constantin Brancusi, and the Cubists Georges Braque and Fernand Légart, Paolozzi trained at the Edinburgh College of Art (1943), St Martin's School of Art (1944), and at the Slade School of Art (1944 - 1947), before working in Paris, France (1947 - 1949) where he met and became influenced by a number of famous artists, including the Swiss sculptor Alberto Giacometti, the former Dadaist and Surrealist Jean Arp, the Romanian sculptor Constantin Brancusi, and the Cubists Georges Braque and Fernand LégArt (1943), St Martin's School of Art (1944), and at the Slade School of Art (1944 - 1947), before working in Paris, France (1947 - 1949) where he met and became influenced by a number of famous artists, including the Swiss sculptor Alberto Giacometti, the former Dadaist and Surrealist Jean Arp, the Romanian sculptor Constantin Brancusi, and the Cubists Georges Braque and Fernand LégArt (1944), and at the Slade School of Art (1944 - 1947), before working in Paris, France (1947 - 1949) where he met and became influenced by a number of famous artists, including the Swiss sculptor Alberto Giacometti, the former Dadaist and Surrealist Jean Arp, the Romanian sculptor Constantin Brancusi, and the Cubists Georges Braque and Fernand LégArt (1944 - 1947), before working in Paris, France (1947 - 1949) where he met and became influenced by a number of famous artists, including the Swiss sculptor Alberto Giacometti, the former Dadaist and Surrealist Jean Arp, the Romanian sculptor Constantin Brancusi, and the Cubists Georges Braque and Fernand Léger.

Currently regarded to be the nation's most successful and influential art school, an «American Bauhaus,» at the time BMC attracted a seemingly bottomless pool of vanguard artists that were to influence the course of American post-war art: painters Cy Twombly, Robert Rauschenberg, Joseph Albers, Franz Kline, Wilhelm DeKooning; poets Robert Creeley, Jonathan Williams, M. C Richards; filmmaker Arthur Penn; architect Buckminister Fuller; sculptors John Chamberlin and Ruth Asawa; and musicians John Cage, David Tudor, Morton Feldman and Earle Brown.

Caro's innovative work was complemented by his teaching at St. Martin's School of Art in London from 1953 to 1981, where he influenced a younger generation of British abstract sculptors including Phillip King, Bruce McLean, Barry Flanagan, Richard Long, and Gilbert and George.

During these years, she studied with Italian - American sculptor Leo Lentelli and at the Art Students League of New York, a formative school for the likes of Jackson Pollock, Lee Krasner, Clement Greenberg, Robert Rauschenberg, Roy Lichtenstein, Helen Frankenthaler, Mark Rothko and Cuban artist of Asturian background, Amelia Pelaez del Casal.

She trained at Leeds School of Art (1920 - 1) and while on a county scholarship at the Royal College of Art (1921 - 4) she met the painters Raymond Coxon and Edna Ginesi and sculptor Henry Moore.

Rail: And you were hanging out with the painters and sculptors of the New York School and began writing about art at a very early age.

Brown was a San Francisco native, taught by Bay Area Figurationists Bischoff, Oliverira, and Lobdel at the California School of Fine Arts (now SFAI); exhibited at legendary Beat venues (6 Gallery, Batman); lived next to Jay DeFeo and Wally Hedrick during the painting of DeFeo's The Rose; married noted Bay Area sculptor and fellow student Manuel Neri; counted such disparate artists as Wallace Berman and Bernice Bing as friends; and gained early recognition (a New York exhibition at age 22) resulting in a lifelong teaching post at Berkeley, a Guggenheim fellowship, over sixty solo shows, and inclusion in an equal number of posthumous group exhibitions.

He also joined Baziotes, Rothko, Motherwell and the sculptor David Hare (1917 - 92) in founding the Subjects of the Art School, an educational project aimed at promoting modern art, which unfortunately collapsed within 12 montArt School, an educational project aimed at promoting modern art, which unfortunately collapsed within 12 montart, which unfortunately collapsed within 12 months.

He then went on to study at the St. Ives School of Art and remained in St. Ives to work as an assistant to the sculptor Barbara Hepworth, for her work entitled Contrapuntal Forms (1951) realised for the Festival of Britain.

Coming to public attention in the first years of the new Millenium, the New Leipzig School (in German, «Neue Leipziger Schule»), also called «Young German Artists» (YGAs), is a loose movement of painters and sculptors who received their training at the Hochschule für Grafik und Buchkunst (Academy of Visual Arts) in Leipzig, East Germany, where it was largely isolated from modern art trends in the West.