Sentences with phrase «very public artist»

In the private sector, the Skirvin hosts a very public artist - in - residence program currently featuring Kerri Shadid.

«Theaster Gates: Chicago's Very Public Artist.»

Not exact matches

The hotel's four buildings have a modern design, with public areas decorated with the art works of contemporary Latin artists, many of them very large pieces.

It will at the very least allow artists not used to public attention to see their work in a larger context and learn what other people like them are doing, to perhaps even discover what, if any, similarities there are among the women.

The Swedish Photography presented from a gallery that is based in Berlin was notable as is in SP - Arte in their second year bringing together many young and important emerging artists «We would like to show Brazilians important references from the Swedish photographers like Inka Lindergard and Niclas Holmström, and we are very enthusiastic with the public response» say Dorotheé the project director.

Brooklyn Art is a very unconventional approach to a curated museum show, maybe it takes something this rewarding and accessible to open the closed doors of the thousands of Brooklyn artists to the public.

The first two exhibitions I had at VAN HORN, back when it was an artists» space, were solo exhibitions of R. Crumb, and Rudolph Steiner — between those two very, very diverse aspects of how you can do something like present art [to a public], that was my statement.

Marian Goodman Gallery Ξ Very few contemporary artist have ever reached Gerhard Richter's success, recognition and public acceptance.

«Until the Whitney Museum was picketed and threatened with human rights legislation in 1970, very few, if any, women artists were included in major public exhibitions of contemporary art.

One of our artists [at Charles Cowles Gallery] who was a sculptor turned entirely to public commissions and it changed his career in a very positive way.

Terry Morgan, Chair, Crossrail said: «This fantastic new exhibition showcases the creative ideas of leading British and international artists who are working with Crossrail's architects and engineers to integrate public art into the very fabric of the new Elizabeth line stations.

Despite Hoyland's very public denunciation of the YBAs and all their works at the time of Sensation, when the two artists met in 2009 they got on like a house on fire.

Even the museum public that knows Warhol, Close and Serra will be surprised by some very powerful objects in the Fisher collection, such as an ensemble of sculptures by Jannis Kounellis, an artist revered in Europe but comparatively unknown in the United States.

«There are artists I have shown here who have had very distinguished careers and many of them used to be in the public eye much more than they are now.

Of course, a good part of the artist's wideranging, amiable practice lends itself very neatly to reproduction, from the transient «One - Minute Sculptures,» 1988 - 97, that brought his work to the attention of a wider public beginning in the late 1980s to his more recent photographic «instructions» for being idle or politically incorrect.

Coney Island Visions of an American Dreamland, 1861 — 2008 WNPR, Feb. 13, Coney Island and Bushnell Park's Carousel Artistry by Mallory O'Donoghue The Boston Globe, Feb. 12, Atheneum assembles a first - rate installation by Sebastian Smee WNPR, Feb. 12, Wadsworth Explores Coney Island, the «Microcosm of the American Experience» by Ray Hardman The Modern Art Notes (MAN) Podcast, Feb. 12, No. 171: Dennis V. Geronimus, Robin Jaffee Frank by Tyler Green WNPR, Feb. 11, Where We Live, An Arts Wheelhouse Examines Connecticut Museums The Boston Globe, Feb. 10, Coney Island comes to the Wadsworth Atheneum by Mark Feeney Apollo Magazine, Feb. 10, Five favourites from the Wadsworth Atheneum's new galleries The New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openings

We'd like to thank the university partners who helped bring this very special event together: Ohio State's Humanities and Arts Discovery Theme pilot project Contemporary Art and Its Publics, and the Department of Art's Living Culture Initiative and Visiting Artist Program.

«Martin Kippenberger: sehr gut very good» however does not intend to be a retrospective, but rather an approximation of both the private and public persona of the artist Martin Kippenberger.

People, to this very day, consider artists as moderate nutcases, but it has changed, as nowadays that they earn a lot of money and the public is amused or intrigued by this, but they still don't really understand that being an artist is a professional, serious job, 24/7.

This week leaves us with very little time: Roberta and Jerry do a rare public joint interview, professional newscasters perform a Liz Magic Laser piece, and artists do stand - up.

Tate Britain is to play host to LS Lowry's landscapes in the very first show of his work held by a London public institution since the artist died in 1976.

And of course I am in some way — particularly with making a point of borrowing something like David's magic box, which was a very personal object, and then putting it in a very public space of the Whitney Biennial — I'm making a point about the effectiveness, say, of highlighting the personal, and the personal process in relation to broadcasting an artist's work.

Whiteread, in both her work and her public persona, might now seem remote from some of her peers, but — like that of Damien Hirst — her work appeared in the very first of the Young British Artists exhibitions at the Saatchi Gallery in 1992, a show that gave the group its name.

From the very beginning, it was clear what her art was going to be about — autobiography, the kind that most artists would not voluntarily share with the public.

This would not have been possible without the tremendous support of our artists and partners, a large number of art professionals, and of course the general public, over the past decade — very special thanks to you all.

In line with the Contemporary Art Society's mission for over 100 years, the award also supports artists who are at a stage in their careers where their work should be entering public collections nationally but very often is not.

Nonprofit spaces were, and still are, bureaucratic entities, dependent on public grants and directed by artists only in a very few cases.

Rothenberg also writes that «Resnick was a very visible & dynamic artist when we met him in the early 1960s, but beyond that he was also a persistent practitioner of poetry, less in a public sense than as a release for feelings & ideas that were a necessary supplement to his life's work as a painter» Rothenberg continues, noting that Resnick «left behind at least 16 envelopes of unpublished, often handwritten poetry with some 40 poems in each.

George Segal was one of the most public and private of artists; his works in plaster and other materials and his numerous public commissions are sited all around the world, yet he relentlessly pursued a very personal sculpture, portraying, for the most part, individuals engaged in everyday life.

In December 2017 Barr was featured artist in American Suburb X with his series Dad, a Very Public Death.

A bit about Jamea Richmond - Edwards: Given her recent inclusion in the Katzen Museum's «Art and Social Justice» exhibition, as well as the fact that her works are in very important public collections (in the US and Dakar), it is not surprising to find Jamea Richmond - Edwards listed among the 10 Female Artists of Color on the Rise (The Root, 2016) and 40 Black Artists You Should Know (Huff Post, 2013).

Beginning in 1953, participants in these discussions included Philip Guston, Willem de Kooning and Richard Lippold.10 Other artist groups that met there included the Federation of Modern Painters and Sculptors.11 The space even occasionally hosted public cultural events, such as a 1955 musical performance presented by the Inter-Arts Committee and the League of Present Day Artists.12 «That house was used very well for art», Nevelson later recalled.

«Visiting Artists Program Lecture: Theaster Gates,» Bill and Stephanie Sick Distinguished Visiting Artist, School of the Art Institute of Chicago, Chicago, IL, September 2, 2014 «Commencement Speaker,» School of the Art Institute of Chicago, Chicago, IL, May 12, 2014 «An Analog but A Very Important Conversation,» Jacob and Gwendolyn Lawrence Foundation Public Lecture, deFine ART, Savannah College of Art and Design, Savannah, GA, February 18, 2014 «Controversy Session: Gentrification and Misuse,» The Museum of Arte útil, via Skype, Van Abbemuseum, Eindhoven, Netherlands, February 6, 2014 «The Artist's Life Series: In Conversation with Anna Deavere Smith,» Arts Incubator, University of Chicago, Chicago, IL, January 2014

Their very thriving, Marshall's paintings seem to suggest, is heroic, and he finds his heroes in barbershops and camping grounds, working - class living rooms and public parks, coffee shops and artists» studios.

Edward Marsh's extremely generous bequest left much of his collection, acquired through his very close support of many artists, to public collections to be distributed through the Contemporary Art Society.

Featuring nearly 40 paintings from collections around the world as well as a wide array of drawings that have never been shown to the general public, this exhibition offers a unique opportunity to discover the work of this artist who, in spite of his celebrity status, continues to keep a very low profile.

Recent works include: Bobby Niven's «Bothy Project» whereby he has created perfectly realised spaces for other artists to work and live in; Aaron Williamson's anarchic performance art often displays a politicised and progressive sensibility towards disability and is typically presented to an unsuspecting public as with his current «Demonstrating the World» mobile stage set; Ruth Ewan explores how the past connects to the present, with her recent creation of the French Republican Calendar allowing a beautifully constructed reframing of our daily lives; Henry Coleman pushes the boundaries and subverts the norm by creating very public, sculptural artworks in the heart of the city, including the 2015 Royal Academy installation «A Greater Order», that both question and confound.

AH At The Artist's Institute we have a very particular tone to the language that we use to address the public.

, China Art Objects Galleries, Los Angeles, California, US Blickachsen 4 / Axes of View 4 (Sculpturen im Kurpark), Galerie Scheffel, Bad Homburg v.d. Höhe, DE Dia: Beacon, Dia, Beacon, New York, US Arttranspennine03, Arttranspenine, North of England, UK Corso Terracciano 56, Alfonso Artiaco, Naples, IT De Collectie, Luc Deleu, Museum of Contemporary Art Antwerp, BE The Snow Show: Venice, UNESCO Regional Bureau for Science in Europe (ROSTE), Venice, IT Utopia Station Lab / Museum in Progress, Venice Biennale, Venice, IT Sink or Swim, Premier La Ciudad Radiante (La Città Radiosa), Fundación Bancaja, Valencia, IT Dust Memories, Swiss Institute - Contemporary Art, IT Independence, South London Gallery, London, UK Look & Feel Art Landscape Nature, De Verbeelding, Zeevolde, NL Telling A Work Of Art, Andrew Jensen Gallery, Aukland; New Zealand: Dunnedin Public Art Gallery, Dunnedin, Otago Settlers Museum, Dunnedin, NZSAFN, SAFN, Reykjavík, IS Histoires Contemporaines, Institute d'Art Contemporain, Villeurbanne, FR Artists» Gifts, Museum of Contemporary Art, Los Angeles, California, US Definitely Provisional (a library), Whitechapel Project Space, London, UK Stop & Go, Frac Nord - Pas de Calais, Dunkerque, FR The Distance Between Me & You, Lisson Gallery, London, UK Nomades & Bibliophiles, Koldo Mixelena Kulturunea, San Sebastian, ES In Full View, Andrea Rosen Gallery, New York, US Image and Writing in Works of the Collection of the Serralves Foundation, Serralves Foundation, Porto, PT Definitely Provisional (a library), Whitechapel Project Space, London, UK Selections from the Lewitt Collection, New Britain Museum of American Art, Conneticut, US Pictures, Patents, Monkeys, and More... on Collecting, Institute of Contemporary Art, University of Pennsylvania, US SEETHE, Catriona Jeffries Gallery, Vancouver, CA Trickfilm, Buchmann Galerie Köln, Koln, DE Look & Feel Kunst Landschap Natuur, Dag van de Verbeelding, De Verbeelding, Zeewolde, NL Utopia Station Poster Project, Haus der Kunst, Munich, DE Surface Charge, Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia, US Temporal Surfaces, Vancouver Art Gallery, Vancouver, CA Artists» Books, Outside of a Dog, Baltic The Center for Contemporary Art, Gateshead, UK Incommunicado, Sainsbury Center for Visual Arts University of East Anglia, Norwich, UK Wittgenstein: Family Likenesses, Institute of Visual Culture with Wittgenstein Archive, Cambridge, UK The Snow Show / New York, Scandinavia House, New York, US Muhka - een keuze, Muhka, Antwerpen, BE Frieze Art Fair, Regent's Park, London, UK Zahlen - Zeit - Zeichen / Numbers - Time - Signs, Galerie Dorothea van der Koelen, Mainz, DE «Art Is Very...» Attributed To Lawrence..., Kent Institute of Art & Design, Zandra Rhodes Gallery, Rochester, UK Argosfestival 2003, A First Quarter screening, Brussels, DE Partners, Haus der Kunst, Munich, DE Ned Sublette / Songs I wrote with Lawrence Weiner, Bowery Poetry Club, New York, US Une Maison - Une Collection (Collection FRAC Bourgogne), Atelier Cantoisel, Joigny, FR Postcards From the Edge, Galerie Lelong, New York, US The RxArt Ball, Dolce & Gabanna Showroom, New York, US RCA Secret, Gulbenkian Galleries, Royal College of Art, London, UK La Nuit Americaine, Yvon Lambert, New York, US Elephant Juice (sexo entre amigos), Kurimanzutto, MX Ready to Shoot / Videogalerie Schum, Kunsthalle Düsseldorf, Dusseldorf, DE; travelled to Casino Luxembourg, LU, Museu Serralves, PT The Boat Show, Wynick / Tuck, Toronto, CA; travelled to Richard Salmon Gallery, London, UK; Hatton Gallery, Newcastle University, UK

The Museum and our public are very fortunate to have this rare opportunity to experience a broad range of drawing approaches to abstraction by world - class artists.»

As artists with active public presences online, in video, and music performance, Reeder and Kuo are two artists who understand very well the mechanics and message of each medium and seek to streamline our experience within them while complicating our assumptions.

Since its inception the Turner Prize has captured the vivid interest of the British media and public, for whom the unveiling of the short list often occasions a fierce debate about the artists» relative merits and sometimes about the very definition of art.

News of artists famous in one field crossing over into another is very often met with public derision.

Discovered in Milan in the late 1970s, a selection of exceptional photographs by legendary avantgarde artist Man Ray will be presented to the public for the very first time.

It's not only the concept that is in the very center of artistic practice; it is about the political subjectivity of the artist in the moment when he or she creates art, and the subjectivity of the public.

Hannah O'Leary: And so, it's really down to the work of people like Osei and Zoe — and groundbreaking curators before them such as Thelma Golden at the Studio Museum or Okwui Enwezor — that are getting these artists and these stories in front of the general public to the point where we don't need to be talking about what is African art and categorizing African art to such an extent, we're just talking about it very international art world and obviously with seeing the respect and the prices for those artists reflected accordingly in the market.

It gave me the opportunity to work with some marvellous artists — some very early on in their careers — like Antony Gormley, who had his first show in a public gallery at the Whitechapel.

Cochran said she is also encouraging the artists to experiment with transitioning their work from the privacy of their studios to very public gallery spaces — an opportunity facilitated by the fact that the EAC's second floor work / gallery space is somewhat secluded, providing a natural opportunity for experimentation.

The artist's new, very personal project for Public Art Fund confronts New York's five boroughs with the global refugee crisis.

Artists like Jacob Epstein, Moore, Barbara Hepworth, Maurice Lambert, Frank Dobson and Leon Underwood were confined to very small dealers» galleries, a tiny public and the odd leaden spoof among the cartoons in Punch.