Sentences with phrase «when younger painters»

★ Moira Dryer Project (through Feb. 22) The first exhibition in 20 years of the obdurate yet romantic wood - panel paintings of Moira Dryer (1957 - 92) is a two - part affair that is especially relevant at a time when younger painters, many of them women, are exploring new ways of getting physical with their medium.

Much has been penned about the twenty - five volatile years leading to Richard Gerstl's death in early November 1908, when the young painter hanged and stabbed himself in the heart.

Not exact matches

Angela Lansbury is the beautiful young music hall singer that Dorian drives to suicide when he cruelly spurns her and Donna Reed is the daughter of the portrait painter who adores Dorian, an innocent and idealist who Dorian is afraid of destroying through his vice.

But everything changes when three young painters come to see Arthur's collection of medieval artifacts, including Gavin Thorne, a quiet man with the unsettling ability to read Imogen better than anyone ever has.

In ’57, when I was teaching at the University of New Mexico in Albuquerque, I met a brilliant young painter, Joan Oppenheimer, who had been working there in isolation for some eight years after graduation.

That's always what interested me, even when I was a very young painter... I decided if I was going to talk about paintings in which you were seeing reality... talk about the act of observation, I had to get closer to how I observed rather than just use as a model how everyone else observed.

In the mid»70s when I was a young painter trying to find my way in New York, I especially liked visiting an uptown gallery that has since become legendary, the Bykert Gallery at 24 East 81st Street.

I think when de Kooning said, «To force a style beforehand is merely an apology of one's own anxiety,» he meant that once a young painter arrives at his or her style so prematurely, where would they go from there?

Stefan Szczesny September 13 — October 9, 2012 The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German - speaking world who came to be known as «Neue Wilde.»

Do you think that conversation around spray paint and mechanical mark - making has really played out, at a moment when Christopher Wool and Albert Oehlen have so much influence on younger painters?

LPB There are some young painters, when they get out of school, who make fashionable work that's in conversation with contemporary dialogue.

Humphrey: It began when I was a young painter in the late»70s, when post modernism was emerging, when the impulse to break conventional pictorial language apart or mix it up was very pervasive.

Willy and I met many years ago when a budding young painter, I ventured deep out into Brooklyn to buy stretcher bars from his studio.

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.

Such was the advice the painter Carmen Herrera gave when asked in June to lend wisdom to young artists.

When I was a young painter in New York I would regularly buy a half dozen or so roses from the buckets of street vendors and deliver them individually to my favorite people and girlfriends.

It's only when the artist enters his seventies that a university art museum mounts a show devoted to these elusive works, enlisting the curatorial help of a somewhat younger and greatly celebrated painter who was affected by them early in his career.

Willy Bo Richardson Willy and I met many years ago when a budding young painter, I ventured deep out into Brooklyn to buy stretcher bars from his studio.

When the Modern's Alfred Barr represented America at the 1950 Biennale with young abstract painters, for example, he also invited John Marin, but the Whitney does not, and he could stand for many.

Like a lot of people, my fantasy when I was younger was to be the kind of painter that that made big abstract paintings.

Carmen Herrera: When I was younger, nobody knew I was a painter.

Though Reichman emerged when Abstract Expressionism was the reigning aesthetic in both the Bay Area and New York, the young painter chose to create works based in his own style, focusing on the intimate, quiet and curious in the space around him.

In a letter to a young artist seeking advice, the abstract painter Thomas Nozkowski wrote in 2006, «Recognition, when it comes, sometimes can seem like a misunderstanding.»

«This major exhibition of Schnabel's recent paintings from the last ten years is the first museum exhibition in the United States since 1987 when Nicholas Serota, director of the Tate Modern, and Dominique Bozo, then president of the Centre Pompidou, curated a traveling exhibition that went from: Whitechapel Gallery, London, Centre Georges Pompidou, Paris, Kunsthalle Dusseldorf, Dusseldorf, Whitney Museum of American Art, New York, San Francisco Museum of Modern Art, San Francisco and ended up at the Museum of Fine Arts in Houston, Texas where Schnabel once lived as a young painter.

«I wasn't bad at etching when I was young... but I'm better now that I've become a painter.»

When I ask if I might meet the young British painter Lynette Yiadom - Boakye at her studio in Hackney, east London, the message comes back from the Serpentine Gallery, where she will shortly have a one - woman show, that this won't be possible.

I used to see a lot of Larry Poons and a couple of other younger painters — John Grieffen and Ronnie Langfeld — when I was in New York in 1969 to» 70.

He first garnered attention in the US in the early 1950s when his work was included in the group exhibition Younger European Painters at the Guggenheim Museum and was also shown at the Frumkin Gallery, Chicago, and at the Stable Gallery, New York.

A promising young painter when the Soviets took over in 1948, in 1957 he had a breakdown that ended his painting career.

When asked why he didn't choose to open a gallery on the Lower East Side (where Ursuta's previous gallery, Ramiken Crucible, was located), Lindemann says, «It's a little too young for our programme, which includes several historic shows,» such as the gallery's homage to William N. Copley, the Los Angeles - based dealer and painter who died in 1996.

The Obamas» choices come at a time when figurative painting and portraiture are growing in popularity among young painters interested in exploring race, gender and identity or in simply correcting the historic lack of nonwhites in Western painting.

The painter Hope Gangloff specializes in portraits with strong contour lines, jewel - like color and abundant decorative interest — works that have earned her frequent comparisons to Egon Schiele and Gustav Klimt (especially when her subject is a pale young woman with flowing locks and a striated dress, as in the painting above from her current show at Susan Inglett in Chelsea.)

In 1954, Gechtoff gained national recognition when her work was exhibited in the Guggenheim Museum's Younger American Painters show alongside Willem de Kooning, Franz Kline, Robert Motherwell, and Jackson Pollock.

Yet, even at a time when some Europeans considered him America's foremost living painter, Tobey was comparatively neglected at home, his reputation overshadowed by the younger, more muscular practitioners of Abstract Expressionism — Pollock, Kline and de Kooning foremost among them.

A great American painter of soft landscapes and subtle mood, Milton Avery was an important mentor for the younger and more famous Abstract Expressionists — he summered every year with Mark Rothko and Adolph Gottlieb in Provincetown, Cape Cod — but has himself faded from the same kind of prominence, particularly when it comes to the market.

She gained national recognition in 1954, when her work was exhibited in the Guggenheim Museum's Younger American Painters show alongside Willem de Kooning, Franz Kline, Robert Motherwell, and Jackson Pollock.

Mapplethorpe, a native New Yorker lived and worked in New York City in the 1960's and 80's when the city's art scene was a dynamic collective of bright stars: young and established painters, sculptors, writers, dancers and photographers, all eager to establish their vision and proclaim their creative voices.

They were so fresh and inventive, yet from their complexity and the assurance of the vocabulary — loose geometry, gridlike formations, unnamable shapes, and squiggly lines — I knew at once that this was the work of a confident and mature artist, even though it fit into the context of what many younger painters were engaged in at the time, when abstract painting had returned to issues of eccentric composition and irregular forms realized through diverse approaches of painting styles.

If someone told me when I was younger that I would be a painter when I grew up, I would have thought they were joking.

The show opens with a row of portraits from 1980 of Hoffmann, looking radiant and determined, by Andy Warhol, and then jumps back to the beginning, when she was picking up the work of the Belgian avant - garde, whose participants are seen infrequently stateside, like Floris Jespers and Frits van den Berghe, whose punchily colored works here from the 1920s — respectively, a dandyish scene in a cafe with burning red walls and a terrifyingly gigantic floating above a rainbow — look curiously on point with what so many of today's mischievous young figurative painters are up to today.

When Ann Purcell was a young painter and art teacher in Washington, D.C., she came to know two artists she now considers mentors — Gene Davis, famed for his vertical stripes, and Jacob Kainen, who influenced generations of artists with his wisdom, independence and work ethic.

He won a scholarship to art school when he was seventeen and a few years later was one of the youngest painters to receive the Walter Lippincott Prize from the Pennsylvania Academy of the Fine Arts.

ART21: You've said before that when you were young you knew you wanted to be an artist with a capital «A.» Do you see your recent portraits of painters as being related to a mythic or romantic conception of what being an artist is and is supposed to mean?

The San Francisco Museum of Modern Art granted Philip Guston (1913 - 1980) a career retrospective shortly before his death, when few discerned the influence his controversial mature work was having on young painters.

Fischl himself developed that particular faith as a young painter in the 1970s when he started to try to express himself on canvas, first at CalArts, the Disney - funded art college outside Los Angeles, and later in Nova Scotia, where he took a teaching job and met his wife, the celebrated landscape artist April Gornik, and finally in New York.

Say specifically why you would think that now, as opposed to when you were a young painter.

But when so many young painters became involved in trying to carry out some of the ideas of Abstract Expressionism, it became rather academic.

When art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de viWhen art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de viwhen curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de vivre.

Our readers were first introduced to Beers Contemporary gallery in September last year, when we presented you with a brand new project by Thames & Hudson entitled 100 Painters of Tomorrow, featuring one hundred young, emerging talented artists to look out.

That early fortune was more elusive for Young, a painter who focused on abstraction when many curators wanted something more concrete from African - American artists.