Sentences with phrase «which other artists of her generation»

Robert Ryman and Ellsworth Kelly were both working steadily, granted, but so distinctively as to be inimitable by younger artists — not that Heilmann seems to have ever resorted to simple mimicry, despite the frequency with which other artists of her generation have used it as a tool.

Not exact matches

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

Proposals are evaluated on the basis of the following criteria, which are weighed equally: How well a project aligns with the MAP Fund's goal of supporting experimentation and innovation in all traditions and disciplines of live performance, especially work that brings insight to the issue of cultural difference, be that in class, gender, generation, race, religion, sexual orientation or other aspects of diversity The artistic strength of the proposed project The viability of the project, based on the applicant's professional capabilities as demonstrated in the project narrative, bio and artist statement, and work samples.

Others were «Take It or Leave It: Institution, Image, Ideology» at the Hammer Museum (2014), which surveyed the use of appropriation and institutional critique in art from the 1980s; and «Jack Goldstein X 10,000» at Orange County Museum of Art (2012) which was a retrospective on the artist who helped initiate an avant - garde art movement referred to as the «Pictures Generation.»

Through a selection of major paintings, sculptures and works on paper spanning nearly a century, Flora, Fauna and Other Forms of Life offers a diverse sampling of the ways in which artists across generations have interpreted naturalistic imagery.

Significant exhibitions include: Andy Warhol's Campbell's Soup Boxes in December 1986, just weeks before the artist's untimely death; She: Works by Richard Prince and Wallace Berman, brought together, for the first time, two generations of leading artists from different coasts; Bruce Conner: Work from the 1970s, which inspired the artist's first solo retrospective in Europe at the Kunsthalle Wien and Kunsthalle Zurich (2010); other shows of important New York - based artists have included new works by Christopher Wool, Richard Tuttle, Mark Tansey, Kenny Scharf, and Keith Haring.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human legs.

This exhibition features 39 black female artists, spanning three generations and a range of mediums, whose works consider other women or in which they turn inward in an exercise of self - examination.

But this year — with a powerful presentation at Manifesta 11, her first solo museum exhibition at Palais de Tokyo, a prize for best work at the Moscow Young Art Biennial (which she shared with Brazilian - American artist Juliana Cerqueira Leite), and a solo booth at Frieze London, among others — has cemented her place among the next generation of rising stars.

Belonging to the generation that produced Abstract Expressionism (he was arguably the first champion of Jackson Pollock), Greenberg saw in that artist's personal tragedy a metaphor for the disasters of American life and art, in which people were alienated from real culture, were being forced to live off kitsch culture («one of faked sensations»... «because it was turned out mechanically») and he was resigned to the fact that at the other extreme, the so called avant - garde had taken off in another direction which was producing art for art's sake for themselves and the cultural elite.

Others, such as Sheeler, took the stark, yet impressive geometry of the new industrial landscape as a point of departureThe exhibition also examines another familiar subject, the human figure, which proved to be of abiding interest to the artists of this generation.

Siegel points to Tibor de Nagy Gallery, which opened in 1950 and represented Frankenthaler along with other second - generation New York School artists, as the nexus of a taste that embraced decorative art, campy humor, and exquisite found objects alongside more commercial abstract paintings.

Curated by Bartomeu Marí, the exhibition features four generations of artists who question in their work the range of possibilities between desire — that which we wish for, independently of whether it is good or just a fact of life — and that which is necessary, without which we can not exist and which can not be any other way.

However, from there came forth photographic and textual - based works, which of course gave rise to the first generation of conceptual artists like Lawrence Weiner, Joseph Kosuth, and a few other

Featuring the work of Sam Gilliam on the cover, a new volume, «Four Generations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amGenerations: The Joyner Giuffrida Collection of Abstract Art,» was published documenting the collection established by Pamela Joyner, which spans four generations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, amgenerations of artists bridging the 20th and 21st centuries, through hundreds of images and essays contributed by Courtney J. Martin, Mary Schmidt Campbell, and Christopher Bedford, among others.

The group's exhibitions, which took place in Chicago and other cities between 1966 and 1969, drew national and international attention and went on to influence generations of artists.

Louise Lawler, a member of the Pictures Generation movement of the 1970s and 80s, became well - known for her photographs framing other artists» artworks in the varied contexts in which they were installed and viewed.

Other themes at the exhibition include a mixed media installation by Guillermo Bert, which features video testimonies of L.A. immigrants projected onto suspended tumbleweeds; multiple slide projections and audio narratives exploring what it means to be a second - generation Filipina by looking to the past, present and future by artist Michelle Dizon; and a video installation that critiques systemic patriarchy and misogyny by Michele O'Marah.

She aligned closely with a group of New York - based artists in the 1980s known as the Pictures Generation, which included Jack Goldstein, Sherrie Levine, Richard Prince, and Laurie Simmons, among others.

He was a «voting member» of the New York Artist's Club from 1951 until its demise in 1957, which places him solidly in the first generation of the New York School, alongside de Kooning, Pollock, Milton Resnick and others, alongside as well their stalwart champion Harold Rosenberg.