Sentences with phrase «time as an art critic»

Throughout the preceding decade, Clement Greenberg, also a former poet, had established a reputation as a leftist critic through his writings with The Partisan Review — a publication run by the John Reed Club, a New York City - centered organization affiliated with the American Communist Party — and his time as an art critic with The Nation.

Not exact matches

As Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenAs Kramer progressed through the 1950s and 1960s, he confronted an increasingly painful dichotomy: on the one hand, his brilliance as an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishmenas an art critic propelled him toward the center of the cultural establishment (he eventually became chief art critic of the New York Times); on the other hand, his political and moral concerns estranged him from the growing radicalism of the intellectual class that controlled the establishment.

Two wonderful cameos by Jason Schwartzman as the owner of a high end North Beach gallery and Terence Stamp as New York Times art critic John Canaday reveal the gatekeepers to be exactly who they were — and primarily still are — self - important men who delight in throwing their weight around.

He casts Terence Stamp as John Canady, then the art critic for The New York Times.

Her life's work is described by New York Times art critic John Canaday (Terence Stamp) as kitsch, allowing «Big Eyes» to wrest with that ol' conflict between what is popular but tacky and what is true art and elitist.

Before becoming critic for the Herald, Verniere was a full - time free - lance writer for such publications as Film Comment, Sight and Sound, Moviegeor's Guide, The Aquarian Arts Weekly, Heavy Metal and Twilight Zone.

I did like Sam (as the audience surrogate) lamenting the NEW YORK TIMES art critic — the standard lowbrow salvo about frustration and all that — moments before his noble spirit is separated from his hyper - toned bod.

Her husband John Ruskin — famous to this day as an art critic, a writer on sundry subjects, and a watercolor painter — refused to consummate the marriage throughout its six years» time.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Known for expansive grid panoramas and painted installations, Bartlett's art was aptly described by New York Times critic John Russell as enlarging «our notion of time, memory, and of change, and of painting itself.»

The artist was chosen as the third Whitechapel Gallery Art Icon by a panel of art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial TimArt Icon by a panel of art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Timart experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial TimArt Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial TimArt), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial TimArt Critic, The Financial Times.

Has written for Art in America, The New York Times, Smithsonian, Vanity Fair, as well as numerous books and catalogues; formerly arts commentator for PBS Newshour, chief art critic for Newsday / New York NewsdArt in America, The New York Times, Smithsonian, Vanity Fair, as well as numerous books and catalogues; formerly arts commentator for PBS Newshour, chief art critic for Newsday / New York Newsdart critic for Newsday / New York Newsday.

For a time, two critics in particular — who began as friends, and remained in the same social circles for much of their lives — set the stakes of the debates surrounding the maturation of American art that would continue for decades.

She has been described by New York Times critic Holland Cotter as one of «the half - dozen most important people for art in downtown Manhattan in the 1970s.»

He served as chief art critic at The New York Times before creating the paper's «Abroad» column — covering culture, political, and social affairs across Europe and around the world from 2007 - 2011.

In contrast to other prominent midcentury art critics — like the New York Times's John Canaday, who warned him against fraternizing with artists for fear of impairing his critical distance — Sandler purposefully immersed himself in his subjects» milieu, first in his days as a young reviewer for Artnews and later as an art historian.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

To kick off a «summer of art», it's time to put some new dates in the diary, so here's five shows art critic Alastair Sooke has picked as his unmissable exhibitions of the season.

In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks» painting as ``... a treat to discover.»

As New York Times art critic Holland Cotter wrote in his review of the show, all - women (or all - LGBT or all - African - American, etc.) exhibits can feel tokenistic, but do serve to «introduce new names, unseen work, understudied lives.»

A better chapter began nearly a decade later with the pioneering exhibition The Quilts of Gee's Bend in 2002, that earned accolades from the chief art critic of The New York Times as «some of the most miraculous works of modern art America has produced.»

Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argues that much of this information (as well as the revisionists» interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists» avowed historiographic principles) decontextualized.

When it came out, the New York Times art critic Roberta Smith described it as «a fascinating if lumpish bit of Shermaniana,» while Ms. Smith's movie - critic colleague Stephen Holden panned it as «sadly inept.»

As New York Times art critic Roberta Smith has noted, the paintings of David Salle, another key figure from this period, are «pictorially rooted in Pop Art's use of common or degraded images», layering elements drawn from high and low cultuart critic Roberta Smith has noted, the paintings of David Salle, another key figure from this period, are «pictorially rooted in Pop Art's use of common or degraded images», layering elements drawn from high and low cultuArt's use of common or degraded images», layering elements drawn from high and low culture.

Working with Linda Durham, Wilson learned the nuances of the art business, and at the same time as a published art critic and university art history professor, continued honing his critical and artistic writing skills.

As the English writer and critic John Russell wrote in Schapiro's New York Times obituary, «his output in print between 1931 and the late 1970s was almost absurdly small in relation to his reputation as both an art historian of the first rank and the most inspiring teacher of his time.&raquAs the English writer and critic John Russell wrote in Schapiro's New York Times obituary, «his output in print between 1931 and the late 1970s was almost absurdly small in relation to his reputation as both an art historian of the first rank and the most inspiring teacher of his time.&raquas both an art historian of the first rank and the most inspiring teacher of his time.»

Admired by critics throughout his long career, Wilson was singled out as a «discovery» by the New York Times art critic Edward Alden Jewel even before his first one - man show at the Galerie Neuf in 1946.

Procedural Matters — Artforum (Summer 2008; note: registration required) Thinking Space — Frieze (March 2008) How Art is Framed: Exhibition Floor Plans as a Conceptual Medium — New York Times (March 2008) Critic's Picks: Michael Asher — Artforum (March 2008; note: registration required)

His richly textured, fantastically seductive paintings are marked by a «distinctive Pop - Surrealist - Social Realist style,» as described by The New York Times art critic Roberta Smith in 2002.

Marina Vaizey was art critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectoart critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women CollectoArt Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectors.

In yesterday's Sunday Times (#), critic Waldemar Januszczak described the decision as a «collapse in educational values», and explained how the study of art history had «saved [his] life».

New York Times art critic Roberta Smith describes his large reliefs as «pocked, splintered, seemingly burned here, bristling there, unexpectedly delicate elsewhere.

O'Doherty served as an art critic for the New York Times and as editor - in - chief of Art in America magaziart critic for the New York Times and as editor - in - chief of Art in America magaziArt in America magazine.

Join cityLab as they continue their conversations about the future direction of Westwood Village with a panel of experts that includes Aaron Betsky (Director, Cincinatti Art Museum), Christopher Hawthorne (Architecture Critic, Los Angeles Times), Nick Patsaouras (Past President, Los Angeles Board of Water and Power Commissioners), and Mark Robbins (Dean, Syracuse University School of Architecture).

For the first time, these early examples are shown alongside Donaldson's later, lesser known works from the 80s, 90s, and early 2000s demonstrate the artist's lifelong commitment of using the politics of representation to make, as he often said, «art for the people, not for critics.»

Her nonfiction titles include the New York Times bestseller and National Book Critics Circle Award winner, The Argonauts (2015), The Art of Cruelty: A Reckoning (2011; a New York Times Notable Book of the Year), Bluets (2009; named by Bookforum as one of the top 10 best books of the past 20 years), The Red Parts (2007; reissued 2016), and Women, the New York School, and Other True Abstractions (2007).

She also attracted the ire of Sunday Times art critic Waldemar Januszczak, who described Curtis as «a disaster».

Allan Schwartzman is an independent art critic who often contributes to The New York Times as well as many other journals and newspapers.

Leah Ollman writes LA Times Review: «Critic's Choice: Amie Dicke photographs as powerfully compromised objects» Paul Laster for ARTS HOLLAND «Amie Dicke: Reimagining the world around us» Francesca Gavin for DAZED Digital: «The Best New Female Fronted Shows» Dot Dot Magazine: Interview with Amie Dicke

He previously worked as a journalist and critic for newspapers and magazines including The Times, Art Review, Burlington Magazine and Frieze.

Roberta Smith, art critic for The New York Times and a lecturer on contemporary art, described them as «exhilarating, precocious and lyric» and wrote that «Rand's paintings demand a substantial place in the history of an unusually fertile period in American art.»

As the critic Germano Celant wrote in Arte Povera: Notes for a Guerilla War (his manifesto of sorts): «Over there a complex art, over here a poor art, committed to contingency, to events, to the non-historical, to the present...» Yet, as much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieAs the critic Germano Celant wrote in Arte Povera: Notes for a Guerilla War (his manifesto of sorts): «Over there a complex art, over here a poor art, committed to contingency, to events, to the non-historical, to the present...» Yet, as much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieas much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieas these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencies.

But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's - who of 1970s art: Yvonne Rainer, Gordon Matta - Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing.

The list of initial and upcoming contributors includes artists such as David Batchelor, Ashley Bickerton, Peter Blake, Jeremy Deller, and Damien Hirst, curators such as Caro Howell from Founding Museum, Hans Ulrich Obrist from Serpentine Gallery, Caroline Campbell from National Gallery, writers, critics and broadcasters such as Edwin Heathcote from Financial Times, Alison Cole from Art Newspaper, and Harriet Vyner, academics and writers such as Robert Storr from Yale University, Abigail Harrison - Moore from Leeds University, and Jules Lubbock from Essex University, among others.

Featuring essays and unpublished texts by critics in contemporary and media arts, including Joan Fontcuberta, Derrick de Kerckhove, Suzanne Paquet, Fred Ritchin, and David Tomas, the publication was designed to challenge a re-examination of what photography is today, in a time when communication and transmission of visual data in cyberspace, the boundaries of virtual reality, and the Internet as a global public space proliferate images and reflect an imaginal reshaping of the world.

[19] The choice of Thomas for the White House collection was described as an ideal symbol for the Obama administration by New York Times art critic Holland Cotter.

But such was the case, as art lore will tell you: his 1975 show at the Whitney Museum drew outrage, most famously from New York Times critic Hilton Kramer, and the exhibition's curator, Marcia Tucker, was fired.

Her exhibitions include co-curating the 2004 and 2006 Whitney Biennials, and curating major survey exhibitions of Dan Graham, Louise Bourgeois, Sol LeWitt, Donald Judd, and Yoko Ono, as well as exhibitions of Paul McCarthy, James Lee Byars, Jack Goldstein, and several group exhibitions including «Signs of the Times: Film, Video and Slide Installation and Britain in the 1980s», «Scream and Scream Again: Film in Art», and «Into the Light: The Projected Image in American Art 1964 - 1977», voted best group show in New York in 2001 by the International Association of Art Critics.

You had seen a critic as influential as Roberta Smith turn against the toxic combination of trashy art and costly installations — and maybe, just maybe, it had seemed time to move on.