Sentences with phrase «white artists like»

Not exact matches

Webb came onto the scene during a golden age of photography, in the late 1930s and early»40s, alongside artists like Margaret Bourke - White, Ansel Adams, Henri Cartier - Bresson, Dorothea Lange, and Gordon Parks, to name just a few.

Attendees will also be treated to multi-day appearances by celebrity guests like Buddy Valastro, star of TLC's «Cake Boss;» Roland Mesnier, former executive pastry chef to the White House; Mich Turner, cake artist to the Queen of England; and Ron Ben - Israel, renowned for his $ 10,000 cakes, who will speak on «How to Cater to High - End Clients.»

The colorful combination of onions, bell peppers and tomatoes topped with white poached eggs seems like an artist's canvas, isn't it?

This artist's concept shows a massive, comet - like object falling toward a white dwarf.

In this artist's conception, a Ceres - like asteroid is slowly disintegrating as it orbits a white dwarf star.

Artist's impression of the surface of the massive, planet - like body being devoured by the white dwarf SDSSJ1043 +0855.

It's clear why Linklater and White would tackle something like School of Rock, enfolding both artists» affection for professional outsiders married to the questioning of the system in a giant, sloppy embrace; the problem with the picture is that nothing about it seems especially organic: the kids are cute, Black is cute, Joan Cusack is severe and cute, and the parents who want to kill Dewey come around in the end mainly because the narrative strictures of stuff like this demands that they do.

Enter Justin White, an up and coming artist made popular through sites like Threadless.

Bronx street kings mingled with Andy Warhol and David Bowie in hipster venues like the Mudd Club and the Roxy, while hip - hop influenced white artists such as the Clash, Tom Tom Club and Blondie, whose Debbie Harry declared, «Flash is fast, Flash is cool» on their 1981 hit Rapture.

Based on Presley's own words - plus the examinations of artists like Tom Petty and Bruce Springsteen, who obviously looked to the King as a premiere influence - Zimney is examining what Gospel, Soul, R&B, Country / Western and even Pop Music meant to a Southern white man who grew up dirt poor, practically without a father, and possibly without a future beyond music.

Audiences can expect to see Michel Hazanavicius» winning, black - and - white silent film «The Artist;» Roman Polanski's adaptation of the stage play «Carnage;» David Cronenberg's sexually charged «A Dangerous Method,» with Viggo Mortensen, Keira Knightley and Michael Fassbender; Sam Levinson's Sundance entry «Another Happy Day» (starring Barkin); and Drake Doremus» Sundance romance, «Like Crazy.»

Though the mileage on its provocation will vary, he's not wrong, even if it feels like artists of color are in a unique position (if by no means must they bear the responsibility) to create reflexive portraits of the way in which their work has been absorbed and commoditized by the white mainstream.

A lovely trifle, «The Artist» is a film lover's film, presented in black and white in Academy ratio (i.e. squarish like your old TV) and with (almost) no dialogue.

When pop star Justin Bieber became all the rage and the thing to do was pretend you did nt like him ~ I hung a picture of the artist on the white board and told my class that if they want to take it down ~ they would have to do it piece by piece.

Students should be asked to find their own artists they like who use Geometric abstraction and white.

Trying to push forward they would soon change their name to Tokyopop, as well as change the format of the magazine to fit two black and white pages, side ways per page, and began adding in a ton of articles on Japanese culture, anime, and manga (even a handful of related articles, although not quite Japanese, like interviews with animation legend Don Bluth or Spawn artist Todd MacFarlane).

White plaster sculptures of the artist himself stood around the grounds like lawn ornaments.

To some people, that's a little more intimidating, but I like viewing fewer artists on the big white walls and seeing installations.

It offers a cheap excuse for a crowd pleaser, much like the Met's own «Regarding Warhol» or like Picasso in black and white at the Guggenheim — two other shows of demanding artists, decent work, lame excuses, and deep flaws.

For an artist who thrives on setting her own boundaries, and who likes white - knuckling deadlines and otherwise stressing out dealers and curators, the arrangement would seem to offer benefits all around.

Rachel Uffner is among a few gallerists who opened up shop against all odds in 2008 during the banking crisis and have nonetheless thrived with artists like Sara Greenberger - Rafferty, Joanne Greenbaum, and Roger White.

Scaled to the artist's height, the sculpture's adult - like presence is juxtaposed with the youthfulness of his pale blue lederhosen, white knee socks, and black patent leather Mary Janes.

Joan Semmel looks like two different artists in the group show («Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver: Black and White Photographs 1975 — 77») curated by Robert Gober at Matthew Marks and in her jewel of a solo («Joan Semmel: Self - Images») at Mitchell Algus.

Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces — like P.S. 1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and others.

Croatian artist Mladen Stilinovic's installation comes across like a mini-retrospective, his whip - smart, often tongue - in - cheek drama and politics taking the form of pieces like a pink banner that reads «AN ARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praartist Mladen Stilinovic's installation comes across like a mini-retrospective, his whip - smart, often tongue - in - cheek drama and politics taking the form of pieces like a pink banner that reads «AN ARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praARTIST WHO CAN NOT SPEAK ENGLISH IS NO ARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praARTIST,» dictionary pages in which the definition of every word is whited out and replaced with the handwritten word «PAIN,» and a manifesto expounding upon the importance of laziness to the artist's praartist's practice.

I have a problem with the fact that the world feels like it's on fire and we're all going to hell in a hand basket — and an artist can just paint white on white?

The über - maximalist installations by the straight, white, politically - incorrect artist seemed painfully apposite for an outing at the dawn of Trumpian America, although Rhoades» position of cheerful political ambivalence feels like a relic from another era.

Pulse aims for the art fairs in miniature, with a separate floor in Chelsea's Metropolitan Pavilion for single - artist booths like a fine one for Peter Brock at Black & White, plus a few installations.

Of course, there were organizations like Exit Art and Art in General, Artists Space, and White Columns that kept going through that period.

It has incorporated its own critics, like the Bruce High Quality Foundation, with a white hearse for, presumably, the death of art in the 2010 Whitney Biennial or the dead artists in the 2014 Whitney Biennial.

The norm at museums of modern art, as it is elsewhere at the Walker, is to give a painting — especially a painting by a towering artist like Chuck Close, Frank Stella, or Mark Rothko — a wide berth of white wall space.

Like the original commission, the design for which was completed in 1983, the new mural at the Chinati Foundation uses a palette of blue, red, yellow, green, black, and white inspired by a visit the artist made to Egypt in 1980.

Also going strong are places like the aforementioned White Columns, the Kitchen, Artists Space and other nonprofit, non-commercial art venues.

Legendary art dealer Jay Jopling opened the first White Cube in London in 1993 and championed artists like Damien Hirst and Tracy Emin.

Perhaps, in an attempt to remedy the Babel myth's «confusion of languages» that came to humanity as Divine punishment for its sins, Paulina Ołowska attempts an embodied written form in a selection of photos, presented grid - like in a white frame, of the artist posing as letters in «Alphabet» (2005).

John Corbett analyzes Wool's navigation between jazz - like improvisation and deliberate composition; Fabrice Hergott focuses on the artist's dialogue with the surface as a subject of the paintings; and John Kelsey digs into the artist's media - savvy black - and - white painted images: «Gestures go viral, escaping one painting and contaminating another.

But what's probably most interesting about the artist is his ingenious ability with craft, which can best be appreciated in his smaller pieces like his paper cutouts and fabric paintings, like this one made with white threads woven into luxurious felt for a luminescent, galactic result.

Their freewheeling style and flirting with illusion also recall white artists who did not quite play by the rules as well, like Al Held and Jack Tworkov.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

They are printed with bawdy tales involving a character named Richard and elegant scribbles in the style of market - hot white male artists like Richard Prince (whose own «Joke» paintings can sell for seven figures), Christopher Wool, Michael Krebber and Albert Oehlen.

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,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,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

In Self - Portrait as Albino, 1968, the artist's expressionless face, eyes closed, is framed by hair like ratty white curtains, secured with a length of frayed silver fabric tied beneath the chin.

In Carmen Argote's «720 ft. Household Mutations, Part B,» the artist removed carpeting from her childhood home, painted much of it white and hung it like a canvas.

Many of Arden's earliest works from the middle of the 1980s, some of which appeared in his first solo exhibitions at artist run centres like Western Front in Vancouver in 1986 and YYZ Artist's Outlet in Toronto in 1987, consist of found, black and white archival photographs of urban scenes in Vancartist run centres like Western Front in Vancouver in 1986 and YYZ Artist's Outlet in Toronto in 1987, consist of found, black and white archival photographs of urban scenes in VancArtist's Outlet in Toronto in 1987, consist of found, black and white archival photographs of urban scenes in Vancouver.

Ellsworth Kelly White Form at Matthew Marks (C06) Placed next to contemporary artists like Gary Hume and Anne Truitt, this 2012 painted - aluminum piece demonstrates how 91 - year - old Ellsworth Kelly is still producing relevant works today.

This «rage» is powerfully present, and punctures the exhibition like a blast in the side — most specifically Pindell's powerful video work from 1980, Free, White, and 21, in which the artist recounts for the camera racism she has experienced throughout her life (from childhood to working professional), and then switches into the guise of a blonde white woman who reprimands Pindell for her paranoia and ungratefulWhite, and 21, in which the artist recounts for the camera racism she has experienced throughout her life (from childhood to working professional), and then switches into the guise of a blonde white woman who reprimands Pindell for her paranoia and ungratefulwhite woman who reprimands Pindell for her paranoia and ungratefulness.

that artists working in some of the fastest growing regions of contemporary art production are responding to an entirely different exhibition framework, which has as much of an effect on the objects being made as the white cube had in western centres of art production like New York and London in the 20th century.

Each have a prolific multi-decade artistic career deserving of further scholarship, but a palpable coincidence further connects these three gures: Betty Parsons was the founder of the eponymous gallery which launched the careers of the likes of Pollock, Rothko and Newman; Arakawa and his wife co-founded the Reversible Destiny Foundation, seeking a new model for architectural practices by borrowing from disciplines including experimental biology, quantum physics, and medicine; Lohaus co-founded the Wide White Space gallery (WWS) in Antwerp in 1966, which exhibited artists such as Beuys, Broodthaers, Christo and many others.

Chase - Riboud shares her dark mysteries with white artists herself, like the steles and Surrealism of Louise Nevelson or the craft and knotted fabric of Sheila Hicks — and she has lived in France for much of her career while casting bronze in Italy.

But the exhibition dramatizes the paradox of the triumph of the «post-black» sensibility: the «post-black» artist's concern with identity is championed while connections to other (read white) artists elided in generalizations like «Modernism,» re-inscribing «post-black» artists in a discourse of identity politics.