Sentences with phrase «ways life as an artist»

Join Siobhán Hapaska in conversation with ArtReview's Helen Sumpter on what art means and how it makes you feel; certainty versus absurdity; and the ways life as an artist in London has changed since the early 1990s.

Not exact matches

«It became a different way of making a living as an artist, which is amazingly rare because you usually don't have many options, especially as a film maker,» he says.

Twain was a bad man, yes, in some ways, but he was the same mixture of good and bad as the rest of us, and every other artist and writer who ever lived, including the saintly ones.

Keep it up bro, and may God work a way in your life to make a financial living as an artists too!

An artists» colony of peasants began painting firing clay and writing poetry as a way of reflecting biblically on their living conditions.

Words can not express the depth of gratitude we feel for the ways the Waldorf School of Princeton and the academic community it sustains have contributed to our son's development as a student, as an artist, and as a human being and to our lives as a family.

She started as a make - up artist in college (The Fashion Institute of Design and Merchandising, California) and soon begun to see that there are diverse ways of making a living in the beauty / fashion industry.

In my early career, I worked as an opera singer, actress, model, and voiceover artist in New York City, which certainly taught me a thing or two about the importance of self - care and maintaining a positive self - image, regardless of what life throws my way.

Junaid Jamshed after his career as an artist and singer was blessed with this opportunity to change his life in a good way, so after that he appeared as a fashion designer.

He's someone whose status as a great artist has allowed him to have total control over his life and surroundings, with everything flowing with grace and ease around him; it's ironic, then, that Alma (Vicky Krieps) catches his eye by being out of place and uncertain in her movements, causing him to beam warmly in a way that gives a totally different energy than his polite smiles toward his clients.

In tracing the evolution of Joyce's art, Bowker also hints at the dark recesses of the artist's psyche, defending his psycho - reading of Joyce's fiction as the only way to plumb the turbid inner life of an often mystifying man.

Ubud Painter Famous for its painter's community, Ubud is a special place in many ways, it has it own magic, and it particularly beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world, some of whom have adopted it as their own home.

Its beautiful surroundings and gracious way of life have drawn celebrities and artists from all over the world for decades; some have even adopted Ubud as their home.

As I read this article it reminded me of how we artists can be quite an emotional lot.Sometimes we have trouble being practical.I certainly have mixed emotions about this subject.On the one hand it is always great to sell a piece of art but on the other five dollars doesn't seem worth the hassle.But the point I think many may have missed is that a five dollar work of art would definately be something you only spend a small amount of time on, like a half hour or less.That's $ 10 an hour to do what you love and isn't that what we're all looking for?My husband who's a bussiness man is always making me look at it that way, in terms of an hourly wage.I know that's not very artistic thinking but it sure does make sence in this materialistic world that we live in.

Well, first of all, the way to make a living as an artist is to become known.

I think as an artist the boundaries get blurred between life and work because your ideas invade life, or life invades your ideas, whichever way you look at it.

When I first started trying to become an artist, to try to live off my creativity and think of my art as more than just a hobby; my apprehension and my attitude toward my own work showed in the way I presented myself.

There are lots of ways to make a living as an artist.

Ostensibly depicting scenes from everyday life — a windswept walk along beach, the artist's daughter, dancing, sewing or putting on a shoe — the works in this exhibition alert us to the endless nuance of bodily expression and the myriad ways in which we reveal ourselves and communicate emotion, such as happiness, sadness, confidence, doubt or even distraction, consciously or not.

It resonated deeply with me, as it would all artists who wish to pursue their passions in a way that they can earn a living.

If you went to art school or you know folks in the industry, then you were probably told that the only way to make a living as an artist is to hand your work over to a gallery owner and hope for the best.

Gwen has been supported by the Foundation in a number of ways, as a grant recipient, an Artist - in - Residence at the Joan Mitchell Center, and as a Creating a Living Legacy (CALL) Artist.

Featuring several newly commissioned artworks and installations, the exhibition explores some of the ways sculptural materials and forms are changing as artists respond to the mediated and virtual realities of the world in which we live and work.

Invisible Adversaries was chosen as a touchstone for the exhibition because the condition it describes, where a hostile force (what EXPORT in her film describes as «Hyksos») circles around the protagonist and also infiltrates her mind, connects with the ways artists approach their adversaries: not as obvious enemies to overthrow but as complex relationships that are a profound part of our history and personal lives.

A critic of institutions and a believer that the artist should act as what he termed an «incidental person» — one who operates in a non-art context, inserting oneself into political and social life — Latham created an oeuvre that paved the way for much socially engaged and politically charged art practice that we see today.

This exhibition rings true because it addresses our personal struggles and demonstrates the artist's ability to work things out, to find a way to combine seemingly irreconcilable opposites, such as art and life, thinking and doing, creating things and relating to people.

From the studio as a site of labor, to one that blurs production, performance, and spectacle, the exhibition features artists who have contended with rapidly evolving socio - economic influences and have reflected new ways of living and working in their own studios and practices.

Co-organized by the Menil Collection and the University of California, Berkeley Art Museum and Pacific Film Archive, Silence takes a multimedia approach to understanding the ways contemporary visual and sonic artists such as John Cage, Joseph Beuys, Doris Salcedo, and Christian Marclay have practiced withdrawal as a response to the complications and multiplicities of contemporary life.

With Abstract Expressionism at the forefront of American painting, these artists, which included Richard Diebenkorn, David Park, Roland Peterson, and Wayne Thiebaud — often referred to as the Bay Area Figurative artists — explored inventive new ways to depict traditional subject matter — the figure, landscape, and still life.

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The Happenings artists, each in his or her own way, destroyed the boundaries between art and life, as Rauschenberg aptly expressed it.

He is an interdisciplinary artist, filmmaker, and experimental publisher whose work explores fiction, reality, and the narrative structures that we employ as a way to explain the chaos and clutter of our everyday lives.

A Divine Light is designed as intimate encounter with the devotional art of the fifteenth and sixteenth centuries and explores the ways in which Northern Renaissance artists expressed the central mysteries of the Christian faith through setting, pose, gesture, and the objects of everyday life.

Scientific developments were rapidly changing the context of contemporary life and Yves Klein believed that as an artist the only way forward was to create a new realm for artistic exploration that reconnected people to the sublime rather than dwell in nihilistic emotion or existential angst.

Some painters may work on a painting intermittently for as long as it remains in their studio under their gaze, not done until it leaves their possession; others produce so much work that they move quickly on to the next painting without looking back and reworking pieces; sometimes artists simply become bored with the artwork; and sometimes life gets in the way, leaving the work unfinished.

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As abstraction sustains the artist, the artist revivifies abstraction, measuring it against the vicissitudes of daily life and the contingencies of professional practice, in ways unexpectedly sincere and mysteriously personal.

These two artists are very different, but their basic message is that painting can be renewed in ways we haven't seen before, whether it is reshaped by Mr. Marshall's erudite meditation on black life in America, or exploded from within, as in Ms. Owens's worldly, encompassing formalism.

SCREEN COMPOSITIONS 14 curated by Katherine Liberovskaya For the 14th year, Screen Compositions brings you, as every time, a collection of intersections of moving image with sonic art; a program of screen works representing dynamic two - way collaborations between video / film artists and sound / music artists specifically intended for single - channel projection with no live or performance component: «Parachora», 2009 by Milosz Luczynski -LSB-...]

«At a moment when so many artists are looking to the so - called post-digital,» Filipovic continues, «Yi manages to reflect on our contemporary condition and how we are transformed by digital technologies without forgetting that, as beings, we live and love and die — and rot along the way.»

As the artist has articulated, the Pharmaceutical Paintings represent «a scientific approach to painting in a similar way to the drug companies» scientific approach to life.

It has today been announced that Sacrilege, the life - sized inflatable bouncy castle replica of Stonehenge by Turner Prize - winning artist Jeremy Deller, will finally make its way into Queen Elizabeth Olympic Park as part of Open East Festival — a weekend of music, food and theatre to celebrate the anniversary of London 2012 on 27 & 28 July 2013.

US artist Marni Kotak talks about her performance of everyday events in real life as way to raise aw...

In the central monumental piece of the show the artist has recreated a ready - to consume iceberg made of found - recyclable materials as an ironic way to depict how easily we can reduce the manifestation of centuries of life into a packages digestible visual concept.

Selectively and imaginatively revisiting old master techniques and concepts, artists today are again exploring the figurative tradition as a viable way of approaching contemporary life.

Filled to the brim with artist - made toys and structures, including a pallet by Joe Scanlan and a Zen Litter Tray (2013) by Rob Pruitt, which is a functional litter box, by the way (and one I now lust over), this «salon - style» «kitty kunsthalle» for «purrrformance», as curator Rhonda Lieberman recently phrased it, has live cats for adoption every weekend (courtesy of Social Tees Animal Rescue).

It was known at the time for its experimental character: Joseph Beuys was his teacher and Polke was certainly attracted by the older artist's charisma; though, as so often in his life, he remained also sceptical, refusing to be corralled into Beuys» way of thinking.

That ability to probe the medium's capabilities have marked him out to be a great photographer — but what marks him out as a great artist is his ability to frame our living world and serve it back to us in ever wondrous and surprising ways.

So if you were black and drew upon your experience within an oppressive dominant culture, to make an existential statement to enrich the lives of others of any race, your experience was not valued and you were marginalized as an «African American» artist, the same way women were marginalized.

The Malaysian - born, London - based artist uses the overly precious setting of the gallery space to pull objects — cooking utensils, kitchen fittings, plastic tubs, sheets of jute, etc — out of their utilitarian context in such a way as to force viewers to think about them as discrete objects, or things in and of themselves, while in the process challenging the assumptions we make about their functionality and attendant concerns such as, for example, the social status of the person who might own such an object, its role in their lives and that relation in respect to one's own style of living.