Sentences with phrase «than a painter at»

Not exact matches

When fed brain scans produced by students looking at fresh paintings by the same artists, the program correctly identified the painter better than chance alone: it was correct 83 per cent of the time among the six students who were art majors and 62 per cent of the time among the others (NeuroReport, DOI: 10.1097 / WNR.0 b013e3283331322).

According to a recent study led by Gábor Horváth, a biological physicist at Eötvös University in Hungary, cave painters understood — better than many artists of the modern age — the laws governing animal motion.

After obtaining a Bachelor of Fine Arts from the University of Georgia, Britt opened up shop as an abstract painter — a talent she discovered with less than a year and a half left at the Lamar Dodd School of Art.

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.

Within a week of MoMA's reinstall, the Metropolitan Museum of Art unveiled «Open Access»: a shift toward becoming an ostensible museum without borders, wherein the digitized catalogue of all public domain artworks from its collection, totaling more than 375,000 images — from Japanese woodblock prints, to studies by American modernist painter Arthur Dove, to Eugène Atget's gelatin silver prints of a Haussmann - izing Paris — are now accessible and downloadable to anyone with an Internet connection, anywhere, at any time.

Frequently pigeonholed as the last great English romantic painter in the vein of Constable and Turner, Hodgkin is more incendiary than that — a sunburst of an artist who exploded counterintuitively from a British visual culture temperamentally uneasy at depicting sensuality or expressing intellectual thoughts.

Lennon, Weinberg, Inc., New York, NY: In the spring of 1965, Joan Mitchell had her seventh and final exhibition at the historic Stable Gallery in New York where her career as a painter had been launched more than a decade earlier.

Still life is a time - worn but hardly vigorous genre at the moment, but Athens, Georgia - based painter Holly Coulis has been inventively tweaking its terms, and never more so than in these new playful and precise works.

In all, it is a good first look at a painter who is only now receiving international critical acclaim, more than 25 years after her death.

More than thirty years after her death, the oeuvre of American painter Alice Neel attracts ever greater interest, and seems only ever more relevant: the substantial and moving exhibition of her paintings currently at the Gemeentemuseum in The Hague is the latest indication of this groundswell of attention, including various shows and catalogs in addition to a fine biography by Phoebe Hoban and a biographical film directed by Neel's grandson, Andrew Neel.

The fair has become more up - to - date than it used to be, with solo shows by established contemporaries like the photorealist painter of suburban ennui Robert Bechtle, at Gladstone, whose booth happily turns out to be opposite Fraenkel's, where there is a similarly moody selection of photographs of residential development in the American West by Robert Adams.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

No fewer than five galleries are presenting his works at the fair, where at least 10 works by the severely underrated American painter are hanging at the moment.

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.

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.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

Here's what did work: Glenn Kaino's glittering mass of arrows in flight at Honor Fraser's booth, a demure suite of gelatin silver prints showing Carrie Mae Weems dancing in a nearly transparent white nightgown, Galerie Brandstrup's laser - focus on young painters (including Michael Kvium and Christer Glein), and Chris Wiley's quirky photographs mimicking and framed with quotidian substances (never has Astro - Turf served a better purpose than a picture frame) as part of Nicelle Beauchene Gallery's entry into Armory Presents.

Surely a Pollock survey would do at least as well as Alice Neel: Painted Truths, which lured just 102 fewer daily visitors than Tut to see a still underappreciated painter's unsparing, often disturbing portraits.

I loved the show that she did at the Pompidou, more than 10 years ago, called «Dear Painter» — the title is taken from Martin Kippenberger.

In less than a year after his arrival to the city, this audacious young painter had his first solo exhibition at the Delancey Street Museum, followed by a two - person show at the prestigious Zabriskie Gallery.

And they had a different point of view than the other galleries that existed at the time, and they were particularly interested in the Pictures Generation [a loose affiliation of conceptual photographers and painters who emerged in the mid-70s and appropriated media and advertising in their work], which by that time had become almost underground.

Opening: «Jonathan Lasker» at Cheim & Read An American abstract painter who has had more than 80 international solo shows since 1981, Jonathan Lasker is widely known for his formalist paintings and drawings that are both planned and improvised.

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.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

«I must have bought more than 100 works at Art Basel,» she said, reeling off the names of artists whose pieces she has bought, including the Icelandic performance artist Ragnar Kjartansson, the American photographer Cindy Sherman, the American painter Jeff Elrod and the German photographer Andreas Gursky.

This month, the British painter and sculptor Allen Jones returns to New York for his first solo show in more than two decades, a mini retrospective at Michael Werner that includes key examples of his work from the early 1960s to the present.

Spanning more than 50 years of his career, Jamie Wyeth, on view through July 5 at the San Antonio Museum of Art opens with his childhood drawings, traces his development as a portrait painter, examines his stint in The Factory with Warhol in New York, contemplates the rural scenes that pay homage to his family's legacy and details his emergence as a great animal and bird painter.

We need to look no further than the words of the poet and famous painter of mountains Wang Wei (AD 701 - 761) in his poem Bound Home to Mount Song:»... Far away, beside Mount Song, I shall close my door and be at peace.»

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.

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.»

So when the easygoing, 46 - year - old painter of abstract - figurative canvases — more appreciated in the indie music and zine subcultures than by Tokyo - based curators and gallerists — was given a retrospective in August 2014, «The Great Circus,» at the prestigious Kawamura Memorial DIC Museum of Art, an hour's train ride southeast of Tokyo, it caught Japan's art community by surprise...

I bring up Alex Katz, a painter who bucked the postwar fashion for abstract expressionism in favor of figuration, and who at 90 is still painting, who likes to say that he's better at it now than ever before.

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.

Primarily a figurative painter and printmaker, Anthony Panzera (born 1941) has taught for more than forty years at Hunter College in the Department of Art and Art History.

Like Frankenthaler, John Hoyland is a painter concerned with the impact of simple masses of colour, but it is hard to imagine anything more different from Frankenthaler's blotted, loose forms than the hard, heavy rectangles in Hoyland's recent paintings at the Waddington Galleries, 2 Cork Street.

Chicago artist Michelle Grabner — painter, curator, critic, gallerist, and professor of painting at the School of the Art Institute of Chicago — co-curated this year's Whitney Biennial, and with 17 of the 103 artists in the show from here, the city's art community feels a little more visible than usual.

The picture is among more than 200 pieces of work on display at the «Museum of Madness» exhibition, which also features pieces by British painter, Francis Bacon, and the 18th - century Spanish master, Francisco Goya.

More than 50 of his landscapes are gathered together at Brandywine River Museum of Art, a 30 - minute drive out from Philadelphia into a bucolic landscape that has long attracted both the hugely wealthy (two Du Pont family estates, Longwood and Winterthur, are open to the public) and artists from Hudson Valley painters to three generations of Wyeths.

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.

But the picture is structured by a series of stripes that make it a cousin once removed to a contemporary stripe painting by Kenneth Noland, a painter whose work dominated art criticism at the time but which now seems much less substantial than Thiebaud's.

They suggest motion, as in the verbs «drip» and «zip,» the motion of a painter at work, rather than confronting nature as a foreign substance.

«Francis Picabia: Our Heads Are Round So Our Thoughts Can Change Direction» * at the Museum of Modern Art will let us take the measure of a European painter more often spoken of as influence than actually seen in bulk (Nov. 21).

2014 Cook, Greg, As AIDS Ravaged His Friends, Jim Hodges Made Art About Beauty and Loss, The Artery, 11 June The Cleveland Museum of Art installs a Jim Hodges sculpture of large, shimmering boulders, Cleveland Museum of Art, 21 May Willard Sachs, Danica, Jim Hodges: Give More Than You Take at the Walker Art Center, Daily Serving, 5 March Adams, Rachel, Reviews: Dallas Jim Hodges, Modern Painters, March A Process of Transformation, Aesthetica, February - March Scott, Gregory J., Artist and Curator Share the Love at Walker, Vita, 13 February Harper, Amina, «Jim Hodges: Give More Than You Take» juxtaposes light and dark at the Walker Art Center, Daily Planet, 17 February Sheets, Hilarie, Jim Hodges: Under the Denim Sky, ArtNews, 22 January Joyce, Erin, Jim Hodges and the Denim Sublime, Hyperallergic, 7 January

Seven bidders battled it out for the angst - ridden triptych of Bacon's friend and fellow painter, but Acquavella Galleries, it is thought, ultimately prevailed with a total roughly $ 60 million higher than the artist's previous record, set by Russian billionaire Roman Abramovich at Sotheby's in 2008.

Trained as a painter, he served as Curator and then Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art for more than a decade.

Twombly's work went on display as part of Twombly and Poussin: Arcadian Painters at the Dulwich Picture Gallery in London from June 29, 2011 less than a week before Twombly's death.

Like his exhibition «The Miracle Half - Mile» at the Santa Monica Museum of Art in 2000 (where Keene completed more than 10,000 pictures over the two - month run of the show), the internationally - acclaimed painter will be working on - site at the Bob Rauschenberg Gallery for two - weeks prior to his 6 - 8 pm public opening and reception on Thursday, April 12th.

Like Young, Bradford represented his nation at last year's Venice Biennale and, in what was something of a monumental year for the American, unveiled Pickett's Charge, a suitably monumental suite of paintings (collectively measuring more than 100 linear metres) that reinterpreted one of the defining moments of the American Civil War (the subject of an 1883 cyclorama by French painter Paul Philippoteaux, itself reinterpreted in Bradford's work) in a work of cut, torn and scraped layers that reflects on the complexities of history, its interpretation and its impact upon the present sociopolitical climate in the US.

With the opening of Art Basel Miami Beach less than two days away, New York's Jack Shainman Gallery announced this morning that it will now show the superb young painter Nina Chanel Abney and have her work on offer at... Read More

The entertaining anecdote that has Titian advising Venetian dignitaries en route to Bergamo to have their portraits painted by Moroni as he made them look natural, although apparently flattering, was in all likelihood a gibe directed at a provincial painter who deviated from canons of portraiture governed by etiquette rather than the attempt to embody a living person.