Sentences with phrase «taught artist called»

In all fairness, the self - taught artist called his early work «fake Old Masters,» which makes more sense.

Not exact matches

In the 1990s, the performance artist Marina Abramovic taught a series of student workshops called «Still Life.»

HOT Schools pairs skilled teaching artists with skilled K - 12 teachers to create dynamic long - term, arts - integrated, learning experiences called Teacher - Artist Collaborations (TACs).

Teachers from the elementary school are now creating their own curriculum and the teaching artist is called upon occasionally in a support role.

Such so - called «outsider,» or self - taught, artists are well - represented at Independent.

«About ten years ago people started to become aware of the fact that many of the major contemporary artists were themselves paying attention to non-academic art, non-professionalized art, self - taught art, whatever you want to call it,» Ollman said.

DIAL»S PASSING COMES at what appears to be a tipping point in mainstream appreciation of the artist's self - taught brand of creation, whether considered «outsider,» «folk» or so - called «vernacular» art, or something more attuned to his individual motivations, inspirations and aesthetic.

BCA - CALL and creative workforce programs provide 12 - week training modules and accelerated intensives in art handling, collections, preparedness and emergency risk management ─ all vital professional development skills - sets for aspiring art handlers, teaching artists and Legacy Specialists.

From Norman Lewis to Joe Overstreet, the Harlem Renaissance — derived tradition of African - American abstract painting (which has historically had a primarily black audience) is intermingled with the tradition of so - called self - taught or outsider artists such as Bill Traylor and Bessie Harvey (whose audience has been mostly in the rural south and mostly black); the more recent wave of African - American conceptualism represented by Adrian Piper, Lorna Simpson, and others (whose work

Self - taught Italian artist Piero Manzoni, born in 1933, can deservedly be called the grandfather of Conceptual Art.

There, he revealed his deep passion for performative practices and so - called «outsider» artists with two trailblazing shows: «Radical Presence: Black Performance in Contemporary Art» (2013 — 14), which tracked black performance art from the 1960s to today, and «When the Stars Begin to Fall: Imagination and the American South» (2014), which questioned the exclusory term «outsider art» by bringing together both self - taught and formally educated black artists.

In 1969, David Askevold, tired of traditional teaching techniques, introduced what he called the «Projects Class» in which he asked artists to formulate conceptual projects for the class to carry out.

Known / Unknown: Private Obsession and Hidden Desire in Outsider Art showcases over 100 rarely seen works by self - taught artistic masters — so called «outsider artists» — who have worked outside the continuum of art history.

Drawn from the artist's gift to the museum, the exhibit includes complete runs of many of Cortor's print series, including Jewels and Facets — as well as impressions of a series he called L'Abbatoire (The Slaughterhouse), a response to Cortor's years living and teaching art in Haiti.

Conceptual artist Michael Craig - Martin — who taught Damien Hirst, Gary Hume, and others at London's Goldsmiths College in the 1970s — is often called the godfather of the Young British Artists.

What / Why: Lisa's studio is like a living classroom, in addition to being a place she calls «home», the artist also teaches painting lessons out of her gorgeous space.

Christie's announced today that it set a record for a work of outsider art at auction in its inaugural sale of self - taught artists, called «Liberation Through Expression: Outsider and Vernacular Art.»

Contemporary artists are picking up where self - taught artists left off — with rough - hewn, unguarded styles some call faux naïve.

Karen Rosenberg wrote of her in The New York Times: «High priestess, matriarch, sex goddess: the self - taught American artist Dorothy Iannone has been called all these things and more.

This survey of local artists was selected from an open call and encompasses a range of approaches to artistic practice, from self - taught artists to full time makers, from academics and educators to collaborative teams.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

I'm also teaching a course at the École Régionale des Beaux - arts de Nantes called, «Workshop: I am curious... (The Artist as Ethnographer).»

Whether in the East or West, whether made by anonymous monks, such as the 7th century Book of Durrow (evidently Bernard Berenson consigned the illuminations to tattoo - craft or simply savage, and even the great John Ruskin has written that «only great art could exist in Western civilization»), or by a so - called self - taught artist such as James Castle, or through certified commissioned works as in Michelangelo's Sistine Chapel and Rothko's de Menil chapel, all were aware of their mortalities and were therefore in touch with their potentials, in spite of reward or consequence.

Over the past two decades, Los Angeles - based artist Connie Samaras (born 1950) has used photography and video — as well as writing, teaching and political activism — to explore the aspirations and anxieties of the imagined future through depictions of built environments that she calls «speculative landscapes.»

Joseph Cornell, American self - taught artist and filmmaker and one of the originators of the form of sculpture called assemblage, in which unlikely objects are joined in an unorthodox unity.

Ceramic artist and folk art supporter Tina A. Cox humorously titles herself the «Self - Taught Curator» of this exhibition, in which she matches up selected works of self - taught artists with works by what might justifiably be called «the masters.&Taught Curator» of this exhibition, in which she matches up selected works of self - taught artists with works by what might justifiably be called «the masters.&taught artists with works by what might justifiably be called «the masters.»

MWPAI is calling for two artists that would benefit from focused studio time and an interest in teaching; Video Artists and Communications Design Artists (ie: Graphic Design, Illustration) working in a studio envirartists that would benefit from focused studio time and an interest in teaching; Video Artists and Communications Design Artists (ie: Graphic Design, Illustration) working in a studio envirArtists and Communications Design Artists (ie: Graphic Design, Illustration) working in a studio envirArtists (ie: Graphic Design, Illustration) working in a studio environment.

Workshop at the Truro Center for the Arts on Castle Hill I'll be teaching a workshop called «The Artist's Book» in which students will learn how to make digital files from artwork, prepare the files for printing, and send the PDFs to on - demand publishers — everything they need to know to make a professionally printed and bound artist'sArtist's Book» in which students will learn how to make digital files from artwork, prepare the files for printing, and send the PDFs to on - demand publishers — everything they need to know to make a professionally printed and bound artist'sartist's book.

Outsider artists have included psychiatric patients, criminal offenders, self - taught visionaries and mediums and other so - called eccentrics.

Oh yes,» McAgy responded, and on his return he called the artist in to teach — «a small commercial art class made up of students who hadn't been able to get into other classes,» as Still now characterizes it.

It was a calling — that teaching gig — not in the same league as a tattoo artist for pissing off the parentals, but the old woman was not happy.