Sentences with phrase «working as an art critic»

Porter speaks of his family background and Harvard education; the Art Students League; his involvement with Marxism and his work as an art critic for «Art News» and «The Nation».

Working as an art critic for magazines such as Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

Working as an art critic for the magazines Arts, Arts Magazine, and later Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

She currently works as an art critic for L.A. Weekly and contributes to a number of other publications, most recently CARLA, Photograph Magazine, East of Borneo and L.A. Review of Books.

She currently works as an art critic for L.A. Weekly, and contributes to a number of other publications, most recently CARLA, ARTNews, East of Borneo, and L.A. Review of Books.

For several years Powhida worked as an art critic for the Brooklyn Rail art and culture journal while developing his own artistic practice.

Not exact matches

As it stands, most critics rely on the popularity of the work of art for the popularity of their review.

My concern is to draw a connection between the broader situation Gioia describes and the dealer's observation, which cuts to the heart of who I am, as a Christian, and the work I do as an art critic, curator, and art historian.

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

It houses works of art from some of the UK's most famous artists such as George Romney and even holds some of the art critic John Ruskin's finest sketches and water colours

Stylistically, First Reformed is shot and edited like an art movie, its look and tone aligned with the chilly minimalism of the «slow cinema» Schrader has theorized and canonized in his work as a critic.

The Seattle Film Critics Society (hereafter, «SFCS») is an association of professional reviewers working in concert to facilitate a community that supports local productions and festivals, that enhances public education, awareness, and appreciation of cinema, and strengthens the bonds of critical dialogue as it pertains to the cinematic arts.

Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as art film distributors are saying, we're still working with the inclusion of Iran and Taiwan).

Her life's work is described by New York Times art critic John Canaday (Terence Stamp) as kitsch, allowing «Big Eyes» to wrest with that ol' conflict between what is popular but tacky and what is true art and elitist.

One of the best things we can do as critics working in the Trump era is to remind people that we don't always experience history through the art of the moment.

In June 2017, Rich is being honored with a week of events at the Barbican Center for the Arts and Birkbeck, University of London, entitled «Being Ruby Rich» saluting her work as critic, curator, and advocate.

Can be used as a booklet for long / frequent periods of cover, as separate tasks worksheets and / or to support and extend existing units of work: Topics include: ● Task 1: Op Art ● Task 2: Be an Art Critic!

She has published short fiction in a number of anthologies, has worked as a journalist and arts critic for several magazines in the United Kingdom, and writes regularly for the Independent and Stage.

And once the gag is pulled off, once the critics and collectors are slavering all over the work and treating the pseudonyms as the newest art world gods, Harriet Burden will «unmask» herself, proving once and for all how ridiculous the whole notion of fame is.

Eastern Mind's Bruno de Figueiredo also tells us that the PC / Mac release «stamped an inimitable hallmark in the history of interactive CD - ROM as one of the most profoundly influential works of digital art whose inscrutability has mystified video game critics, still unable to find a fitting label with which to categorize it.»

Having been immediately hailed by European critics as one of his era's greatest painters, Soutine, who was based in France for much of his career, was largely ignored in America until the Museum of Modern Art in New York hosted a small exhibition of his work in 1950.

«Any kind of formal invention in the work of black artists was seen as, if not second rate, then something done the second time around,» says Odita, noting that Clark laid claim to making the first shaped painting — before Frank Stella — and that the king - making art critic Clement Greenberg regularly visited Bowling's studio but never took the opportunity to write one word in support of his work.

Despite the pronounced effect on his work of the hugely influential Russian - born French painter Nicolas de Stael, described by the art critic Marco Livingstone as, a godsend to Kinley, the young British painter apparently, trod a solitary path that has made him difficult to place in the pantheon of Modern British art.

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

«Rirkrit Tiravanija's art is like a fungus», according to art critic Jerry Saltz, «As with mold, mildew, and mushrooms, it is parasitical, lacks the artistic equivalent of true chlorophyll, grows virtually anywhere, and is mysteriously beautiful»; and this zoomorphic quality seems even more relevant in light of Rirkrit Tiravanija «s latest work for Open Source: Art at the Eclipse of Capitaliart is like a fungus», according to art critic Jerry Saltz, «As with mold, mildew, and mushrooms, it is parasitical, lacks the artistic equivalent of true chlorophyll, grows virtually anywhere, and is mysteriously beautiful»; and this zoomorphic quality seems even more relevant in light of Rirkrit Tiravanija «s latest work for Open Source: Art at the Eclipse of Capitaliart critic Jerry Saltz, «As with mold, mildew, and mushrooms, it is parasitical, lacks the artistic equivalent of true chlorophyll, grows virtually anywhere, and is mysteriously beautiful»; and this zoomorphic quality seems even more relevant in light of Rirkrit Tiravanija «s latest work for Open Source: Art at the Eclipse of CapitaliArt at the Eclipse of Capitalism.

Prior to joining MOCA North Miami, Gartenfeld worked as an editor, art critic, and freelance contemporary art curator.

As NYPL's senior art librarian she curates exhibitions and events at New York Public Library where she has initiated several exhibition and program series featuring the work of emerging and renowned artists, authors, critics, designers and others.

Considering such works as the kinetic theater performance Meat Joy, early photographs and assemblage constructions to The Lebanon Series of 1983, art historian and critic Branden W. Joseph will examine the particularly unstable and even disruptive texture of Carolee Schneemann's imagery, the troubles it has caused reviewers, and certain aesthetic and ethical implications it may hold.

The Arts Council memorial exhibition that opened a year later — largely due to the efforts of the artist's widow, Lilian Holt, Joanna Drew of the Arts Council and the critic Andrew Forge — commenced the reappraisal of Bomberg's work, although the show was an uneven account of his career, entirely omitting the monumental early works such as In the Hold and The Mud Bath.

This new work has almost nothing in common with the overblown, space - filling, mixed - media installations that the critic Peter Schjeldahl described in 1999 as «festival art» — made for the commercial art fairs that have proliferated internationally for almost two decades.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

Gerhard Richter fans still giddy from his last major retrospective at New York's Museum of Modern Art in 2002 — which one critic described as «a resounding hosanna of piquant, good, and great paintings» — will get another chance to savor the modern master's art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 201Art in 2002 — which one critic described as «a resounding hosanna of piquant, good, and great paintings» — will get another chance to savor the modern master's art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 201art this fall when Tate Modern looks back at 50 years of his work (October 6, 2011, to January 8, 2012).

Using Still's storied relationship with critics as a point of departure, Smith and Saltz will explore the realm of art criticism today, sharing insights about their work, process, and criticality in looking at art.

In his work, Gilewicz touches upon the value of labor, both artistic and physical, fulfillment as it relates to the production and over-production of art in a global economic slowdown and the roles of critics and art institutions.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Bucklow's portrait of Greenberg shares the belief of critics such as Rosalind Krauss that Greenberg's cult of the pure modern work of art excluded irrationality, physicality, sexuality and the mess of life.

In addition to her work as an artist, Gilsdorf is an art critic and professional editor.

After studies in Art History at Columbia University, Weinstein worked as a writer and critic.

Later that year participated in an exhibition at Galleria La Bertesca in the Italian city of Genoa, with a group of other Italian artists that referred to their works as Arte Povera, or poor art, a term subsequently widely propagated by Italian art critic Germano Celant.

He flourished as a critic in New York from the 1940s to 1960s, but even today, decades after his best - known work and 17 years after his death, he is a totemic and constantly invoked voice on modern art.

As an art critic, Sandler did not proclaim works to be good or bad in the ex cathedra manner of Clement Greenberg.

By the time I became aware of her work she had become a minor celebrity — a relic of the depression era who had ignored Abstract Expressionism, Pop, Minimal and Conceptual art and was still painting traditional portraits of her family and friends, as well as art historians, critics, curators and artists.

Upon graduation, he moved to New York where he worked as an editor and art critic, and, with no formal training, began painting.

Although Georgia O'Keeffe (1887 — 1986) has long been celebrated as a central figure in twentieth - century art, the abstract works she created throughout her career have remained overlooked by critics and the public in favor of her representational subjects.

Over the next decade, Judd worked as a critic for ARTnews, Arts Magazine, and Art International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaciArt International; his subsequent theoretical writings on art and exhibition practices would prove to be some of his most important and lasting legaciart and exhibition practices would prove to be some of his most important and lasting legacies.

AIM is structured as a «collaborative residency» in which participants work directly with established artists, collectors, art critics, curators, dealers, lawyers and other art world professionals.

Aside from a couple of critics, most thought that this year's offerings were the best yet, and some dealers reported so much business in the first hour as to give many I talked to the impression that the more sought - after work had been pre-sold, a practice that would ban a gallery from fairs such as Art Basel, but that seems to fly here.

As New York Times art critic Holland Cotter wrote in his review of the show, all - women (or all - LGBT or all - African - American, etc.) exhibits can feel tokenistic, but do serve to «introduce new names, unseen work, understudied lives.»

The term «abstract classicists» was coined in 1959 by curator and critic Jules Langsner to define these four southern California painters whose work he grouped in a seminal exhibition that year at the Los Angeles County Museum in Exposition Park (prior to LACMA's existence as an independent art museum).

«Like Louis, Landon questions the traditional processes, such as brush work, involved in creating a painting,» says Eric Gleason, the gallery director who co-curated this show with the art critic Alex Bacon.