Sentences with phrase «time painting career»

2:30 — how Flora ended up taking up teaching after she already had a full - time painting career.

Not exact matches

Having completed a long career as an air traffic controller, Jody is now able to spend much more time, not only as a professional photographer, but with his other loves night photography, light painting, cigars, and spicy food.

Steely and implacable, Jerene presides over her family's legacy of paintings at the Mint Museum; Duke, the one - time college golden boy and descendant of a Confederate general, whose promising political career was mysteriously short - circuited, has settled into a comfortable semi-senescence as a Civil War re-enactor.

Since then, Dan's professional career has focused full time on nature and wildlife art in both paintings and sculptures.

Now close to retirement, my new painting «career» resurrected from the 1970's when I was in full time employment is largely hobby orientated, so I'm not so worried whether I get a sale or not, though the money would be very useful!

The Times column «Show Us Your Wall» ventures to the Hollywood offices of the animation studio Titmouse, which features «an original comic book page from «Dune,» a signed watercolor of the singer George Clinton by Overton Loyd and a thrift store painting of Elvis in various stages in his career.»

Kessler writes that the exhibition «is not only about a group of Mark Rothko paintings done at the peak of his career, but it's also about an ingenious restoration technique — a way to restore the color of these faded murals via non-invasive digital projections... The exhibition features a much - damaged five - panel mural that Rothko was commissioned to make in 1961 - 62 for the penthouse dining room of Harvard University's Holyoke Center... 38 studies for the murals... And, presented here for the first time, a sixth [undamaged] mural which was painted for the commission and held in reserve until Rothko decided which five paintings he wanted for the final installation.»

17 In mid-century France, as in 17th - century Holland, there was a tendency for artists to attempt to achieve some sort of security in a shaky market situation by specializing, by making a career out of a specific subject: animal painting was a very popular field, as the Whites point out, and Rosa Bonheur was no doubt its most accomplished and successful practitioner, followed in popularity only by the Barbizon painter Troyon (who at one time was so pressed for his paintings of cows that he hired another artist to brush in the backgrounds).

By the time Untitled III was featured with three other paintings of the «Untitled series» (I, IV) in the 1981 Whitney Biennial, it was clear that Untitled III was among the most scintillating of the master's tableaux, a «landscape» from a catalytic moment in his by - then five - decade long career.

The six paintings featured in this exhibition not only received extensive exposure in their time, but they also serve as incontestable examples of the most important phases of Denny's career in their most accomplished resolution, allowing us to experience and review the full scope of his impressive legacy.

Through the friendship and careers of the trio of artists — all who live and work in The Hamptons — the exhibition explored paintings made and the intersections and divergences of each of their art practices during this time period.

Agnes Pelton,» Incarnation,» 1929 In the LA Times blog, Christopher Knight reports that «the kernel of a powerful idea resides within «Illumination,» an exhibition of abstract paintings by four women who worked in the deserts of the American Southwest and whose careers pretty much spanned the 20th century.

The exhibition has been described as «the most remarkable exhibition of the year» (Laura Cumming, Observer), a «magnificent display of 60 paintings from across Neel's career» (Robin Blake, Financial Times), «an eye - peeling, heart - wrenching triumph» (Rachel Campbell - Johnston, Times), «a revelation - exhilarating, touching, tender and a little bit wild» (Adrian Searle, Guardian), and a «punchy retrospective» (Richard Dorment, Daily Telegraph).

Over the course of a thirty - year career Doug Argue's paintings are best described as palimpsests — layers of radiant brushwork and scrims of crisp stenciled letters envelope the entire canvas to suggest the passage of time, light, motion, and how the past informs the present.

He did fill his paintings with spontaneous passages, as a jazz musician might, and after a brief time early in his career it seems that he went directly into his paintings without any significant compositional studies.

Several times during the course of his career he stopped painting altogether to concentrate on drawing.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

Preti, although born in Calabria and active in Naples and Malta later in his career, was working in Rome at the time this painting was produced.

This compact show touched on the long arc of Mitchell's career, from her early, calligraphic slashes in the 1950s, when she was painting in a studio off St. Marks Place in New York and drinking with the AbEx boys, through her time in Paris in the»60s, and, until her death in 1992, in the French countryside at an estate with an overgrown garden and a

His timing was lousy, from a career angle, dropping out as he did just when champions were needed to implement the idea of world - beating American painting falling into line with the cold - war vision of America's brave new free - world hegemony.

Comprising photographs and paintings by Sheeler along with fashions of the era, Charles Sheeler: Fashion, Photography and Sculptural Form evokes the personalities, glamour, and promise of the Jazz Age, and reveals for the first time how Sheeler's «day job» at Condé Nast shaped his aesthetic vision and artistic career.

Somber, figurative works made at a time when Pop Art and Minimalism were the main focuses of the art world, the Black Paintings preface Spero's radical career.

The display of many series focussing on one subject from different periods in a major contemporary artist's career gives the audience a chance to see how his painting has evolved over time, including his technique, materials, and even his conception of the theme of portraiture.

Thomas began her career as a commercial artist, art director and illustrator, and switched to painting full time in the early 1980s, inspired by her move to the East End of Long Island.

Pioneering and critically lauded works of Spero's career include the frieze - like scroll installations such as Cri du Coeur and Azur; large panels such as the Codex Artaud series and Notes in Time on Women, and the stark, impulsive War Series and Artaud Paintings.

What once began as a career full of surrealistic and photorealistic paintings evolved through time into the art that he creates today, which is abstract.

At a time when being a painter was highly unfashionable, Doig had little luck launching his career and moved to Montreal, where he mixed paints for a set design company and later worked on the sets for the horror flick The Amityville Curse.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

He began his career as a painter, drawing on the work of the abstract Expressionists, but as time went on he became increasingly dissatisfied with painting, a medium that he came to believe was a thing of the past.

While Abstract Expressionism brings to mind artists such as Jackson Pollock, Willem de Kooning, and Robert De Niro, Sr., only a few women painting at the same time garnered any name recognition, and even so, for many, this recognition came far later in their careers.

Mackintosh lost little time in making up for the late start, and generated multitudes of drawings, paintings, prints and ceramics during his career at Creative Growth Art Center in Oakland, CA.

Having recently graduated from Florida Atlantic University with a BFA in Painting, this opportunity has come at a pivotal time in Erica's own career and goals as an artist.

Over the course of his prolific career, from early 1960s monochrome paintings to more recent work inspired by Chinese art and culture, Brice Marden has established himself as one of the most important abstract painters of our time.

Henri Matisse painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of Photography and Film, Rochester July 18 — October 11, 2010 In the time between Henri Matisse's (1869 — 1954) return from Morocco in 1913 and his departure for Nice in 1917, the artist produced some of the most demanding, experimental, and enigmatic works of his career — paintings that are abstracted and rigorously purged of descriptive -LSB-...]

As Irving Sandler rather argues, the lack of real «polemics» in art today — not merely in painting, but in contemporary art in general — makes it harder on today's artists» careers compared to artists who lived in times when artists publicly thrashed out their «positions» on art and aligned themselves with art movements.

Ranging from her earliest explorations in painting to new works made in the past few years, this survey — the artist's first major exhibition in New York in fifteen years — celebrates a career of exceptional duration and distinction, tracing the development of Kusama into one of the most respected and influential artists of her time.

«We like to work with artists at a time in their career where being at SFMOMA, and in San Francisco, is an important next step,» said Jenny Gheith, assistant curator of painting and sculpture to the Observer.

Overture will present over 25 new works exploring philosophical and theoretical ideas surrounding global displacement and conflict, demonstrating Khan's profound interrogation into language and meaning over a wide array of media — painting, sculpture, photography, works on paper, and, for the first time in his career, works on glass.

The series of drawings and plates created by Bartlett during this time undoubtedly led to the creation of Rhapsody, the legendary 987 - plate painting that would become the pivotal work of the artist's career.

In 2011, he was part of the Art Museum of Southeast Texas's Obsessive Worlds exhibition and, in the same year, was included in New American Paintings for the third time in his career.

In 2011, he was part of in the Art Museum of Southeast Texas's Obsessive Worlds exhibition and, in the same year, was included in New American Paintings for the third time in his career.

These particular paintings were made at a time after Guston's career had already taken flight alongside his fellow New York City abstract expressionists.

Alongside with paintings and sculptures, illustrating the key - phases of the artist's career, the exhibition will feature the spectacular Coucou Bazar, a multimedia work where painting, sculpture, theater, dance and music coexist, presented for the first time in New York in 1973.

The exhibition features the work of three artists who met in Los Angeles in the 1970s and moved to New York in the 1980s where they established careers as influential painters at a time when painting was thought to have passed it's prime.

• Rachel Jones, 24: «Trying to second - guess what other people want is a recipe for disaster» • Laure Prouvost, 37: «I feel I have lived many lives» • George Shaw, 49: «Every second, every ounce of time has to be accounted for» • Rachel Whiteread, 52: «In my 50s, I'm clearer about what I'm trying to do» • Susan Hiller, 75: «Self - doubt is always present for artists» • Paula Rego, 80: «Painting is not a career.

While Whitten has been exhibiting at home and abroad throughout his career, there has been a recent resurgence of interest in his work, which has been included in major group shows such as Energy / Experimentation: Black Artists and Abstraction 1964 — 1980 at The Studio Museum in Harlem (2006); High Times Hard Times: New York Painting 1967 — 1975, organized by Independent Curators International (2006); and Blues for Smoke organized by the Museum of Contemporary Art, Los Angeles, California in 2012.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

But although Reinhardt began his career painting expressive, dynamic canvases, his quest for purity drastically altered his approach over time.

It was during this time that he painted loose, gestural abstractions in the tradition of the New York School, but did not seriously entertain the idea of a career in the arts.

He emerged on the New York art scene at the time that Abstract Expressionism was dominant, and through the course of his career he challenged abstract painting and the model of the heroic, self - expressive artist championed in the 1950's.