Sentences with phrase «writing as an art critic»

She is now working as an independent curator and consultant for emerging artists in Paris, while continuing to write as an art critic on her blog, «Art is a Conversation».

Not exact matches

When I came to movies as an adult critic, I tried to write religious film criticism, in the sense that I saw art in religious terms.

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.

Rubinstein writes: «Chia, Cucchi, Clemente, Mariani, Baselitz, Lüpertz, Middendorf, Fetting, Penck, Kiefer, Schnabel... these and other artists are engaged not (as is frequently claimed by critics who find mirrored in this art their own frustration with the radical art of the present) in the recovery and reinvestment of tradition, but rather in declaring its bankruptcy — specifically, the bankruptcy of the modernist tradition.

«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.

An art critic for the Gazette des beaux - arts, Ephrussi wrote books on Albrecht Dürer and Paul Baudry, which are installed in vitrines along with copies of the magazine as well as two sales catalogues from 1913 related to his collections.

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....

Art critic Carol Diehl wrote in ARTnews that «Stella, unlike others of his stature, uses his fame as a platform from which he takes the risk of failing.

I have written about art for a number of years, specializing in first - person art criticism as art critic for the Village Voice, then in the Soho News.

Has written for Art in America, The New York Times, Smithsonian, Vanity Fair, as well as numerous books and catalogues; formerly arts commentator for PBS Newshour, chief art critic for Newsday / New York NewsdArt in America, The New York Times, Smithsonian, Vanity Fair, as well as numerous books and catalogues; formerly arts commentator for PBS Newshour, chief art critic for Newsday / New York Newsdart critic for Newsday / New York Newsday.

As an art critic, he has written for Frieze, Siski, and is a contributing editor of Artforum International.

INK is written by Sarah Kirk Hanley, who is an independent print specialist and critic as well as a frequent contributor to Art in Print.

He was first publicly recognized as an art critic, writing reviews for Arts magazine from 1959 — 65.

As a critic Jetzer has written many contributions for catalogues, art magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard PhillipAs a critic Jetzer has written many contributions for catalogues, art magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Philliart magazines, and newspapers such as Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Phillipas Parkett, Flash Art, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard PhilliArt, Spike, or Kaleidoscope and is the publisher of books on e.g. Andro Wekua, Saskia Olde Wolbers, Shirana Shahbazi, and Richard Phillips.

As art critic Lawrence Downes wrote: «Tomlinson employs classical anatomy as a vehicle for gestural abstraction.&raquAs art critic Lawrence Downes wrote: «Tomlinson employs classical anatomy as a vehicle for gestural abstraction.&raquas a vehicle for gestural abstraction.»

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.»

As Charlotte Cotton, critic and former curator of photographs at the Victoria and Albert Museum (London) as well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquAs Charlotte Cotton, critic and former curator of photographs at the Victoria and Albert Museum (London) as well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.»

In Sven Lukin's shaped canvases of the 1960's, the artist «transforms windows into objects,» as the art critic Frances Colpitt writes.

As a critic, Jetzer has written articles for many notable catalogs, art magazines, and newspapers.

Working with Linda Durham, Wilson learned the nuances of the art business, and at the same time as a published art critic and university art history professor, continued honing his critical and artistic writing skills.

As the English writer and critic John Russell wrote in Schapiro's New York Times obituary, «his output in print between 1931 and the late 1970s was almost absurdly small in relation to his reputation as both an art historian of the first rank and the most inspiring teacher of his time.&raquAs the English writer and critic John Russell wrote in Schapiro's New York Times obituary, «his output in print between 1931 and the late 1970s was almost absurdly small in relation to his reputation as both an art historian of the first rank and the most inspiring teacher of his time.&raquas both an art historian of the first rank and the most inspiring teacher of his time.»

As an art critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art InternationaAs an art critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art Internationart critic, Judd wrote for magazines such as ARTnews, Art Magazine, and Art Internationaas ARTnews, Art Magazine, and Art InternationArt Magazine, and Art InternationArt International.

Spanning practice and theory, Hockney's investigation of artistic techniques has also developed through art - historical research, resulting in Secret Knowledge (2001), his publication on the optical devices used by the Old Masters, as well as A History of Pictures: From the Cave to the Computer Screen (2016), written in collaboration with art critic Martin Gayford and further exploring the many ways artists have pictured the world.

As a critic she has written essays for specialist journals and compendia such as Artforum, Kunst og Kultur, Texte zur Kunst, Springerin: Hefte für Gegenwartskunst, Siksi: The Nordic Art Review, Parkett and NAs a critic she has written essays for specialist journals and compendia such as Artforum, Kunst og Kultur, Texte zur Kunst, Springerin: Hefte für Gegenwartskunst, Siksi: The Nordic Art Review, Parkett and Nas Artforum, Kunst og Kultur, Texte zur Kunst, Springerin: Hefte für Gegenwartskunst, Siksi: The Nordic Art Review, Parkett and NU.

Guest Curator Carter Ratcliff is a poet and art critic who has lived in New York since 1967 and has been writing about Alex Katz for almost as long.

The White Review No. 14 features interviews with the art critic, historian and October journal editor Hal Foster; British artist Mark Leckey, whose hugely influential film «Fiorucci Made Me Hardcore» was memorably described by Ed Atkins as «better than art»; and the novelist Rachel Cusk, who talks about her commitment to «writing sentences that aren't the product of sentences written by other people.»

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 subjecart 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 subjecArt 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 subjecart exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

As part of her master's thesis at San Francisco State, the Cleveland - bred artist invented three phantom art critics — each with his or her own style theoretically based on famous critics like Clement Greenberg and Harold Rosenberg — hustled freelance writing jobs for them and wrote dueling reviews of Lynn Hershman's sculpture.

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 subjecart 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 subjecArt 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 subjecart exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects.

Writing in Arts Magazine in April, 1965, artist and critic Donald Judd lauded Bontecou as «one of the first to use a three - dimensional form that is neither painting nor sculpture.

It was a common practice of Judd to write notes directly on the press releases, checklists, and ephemera for exhibitions that he reviewed as a critic for Arts, later Arts Magazine.

Leah Ollman writes LA Times Review: «Critic's Choice: Amie Dicke photographs as powerfully compromised objects» Paul Laster for ARTS HOLLAND «Amie Dicke: Reimagining the world around us» Francesca Gavin for DAZED Digital: «The Best New Female Fronted Shows» Dot Dot Magazine: Interview with Amie Dicke

Donald Judd began writing on art and related matters in 1959 when he accepted a job as an art critic for the magazines Arts, Arts Magazine, and later Art Internationart and related matters in 1959 when he accepted a job as an art critic for the magazines Arts, Arts Magazine, and later Art Internationart critic for the magazines Arts, Arts Magazine, and later Art InternationArt International.

Roberta Smith, art critic for The New York Times and a lecturer on contemporary art, described them as «exhilarating, precocious and lyric» and wrote that «Rand's paintings demand a substantial place in the history of an unusually fertile period in American art.»

As the critic Germano Celant wrote in Arte Povera: Notes for a Guerilla War (his manifesto of sorts): «Over there a complex art, over here a poor art, committed to contingency, to events, to the non-historical, to the present...» Yet, as much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieAs the critic Germano Celant wrote in Arte Povera: Notes for a Guerilla War (his manifesto of sorts): «Over there a complex art, over here a poor art, committed to contingency, to events, to the non-historical, to the present...» Yet, as much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieas much as these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencieas these works functioned in the present tense — often literally mutating in real time — they also rejected the fetish of the «contemporary,» with its technological and productivist tendencies.

But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's - who of 1970s art: Yvonne Rainer, Gordon Matta - Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing.

[1] His career started after moving to New York in 1967, where he worked as a curatorial assistant at the Guggenheim Museum and as an art critic, writing for Art News and Art Internationart critic, writing for Art News and Art InternationArt News and Art InternationArt International.

Formalist art critic Clement Greenberg championed Noland, along with Jules Olitski and Louis, in his influential writing of the 1950s and 60s, interpreting their paintings as the next logical progression in Modernism's continuous refining of the medium, reducing it to solitary, non-representational painted forms on blank canvas.

[5] The critic wrote that some of Donegan's work, such as Kiss My Royal Irish Ass (1992), Clarity (1994), and Rehearsal (1994), departed from the «defiantly throwaway character» of her other work and instead engaged with the art - making process and art history.

As an art critic, Marc - Olivier Wahler regularly writes on contemporary art and its theoretical problematic in international magazines, academic books, and exhibition catalogues.

As a writer and critic, Gilane Tawadros has written extensively on contemporary art, most recently she edited Changing States: Contemporary Art and Ideas in an Era of Globalisation (inIVA, 200art, most recently she edited Changing States: Contemporary Art and Ideas in an Era of Globalisation (inIVA, 200Art and Ideas in an Era of Globalisation (inIVA, 2004).

Art critic Jonathan Goodman once wrote that Puder's paintings are «at the cusp between representation and abstraction, where the overall gestalt is accessible as figuration but also presents itself as a nonobjective arrangement of forms.»

As art critic Natilie Hareen wrote in Art Forum about Monzon's work, «Seemingly all the formal painting devices from the last fifty years have been brought to bear in Monzon's canvases: the gestural brushstroke; the grid as found compositional device; the chance - determined stain; and the diagrammatic line.&raquAs art critic Natilie Hareen wrote in Art Forum about Monzon's work, «Seemingly all the formal painting devices from the last fifty years have been brought to bear in Monzon's canvases: the gestural brushstroke; the grid as found compositional device; the chance - determined stain; and the diagrammatic line.&raqart critic Natilie Hareen wrote in Art Forum about Monzon's work, «Seemingly all the formal painting devices from the last fifty years have been brought to bear in Monzon's canvases: the gestural brushstroke; the grid as found compositional device; the chance - determined stain; and the diagrammatic line.&raqArt Forum about Monzon's work, «Seemingly all the formal painting devices from the last fifty years have been brought to bear in Monzon's canvases: the gestural brushstroke; the grid as found compositional device; the chance - determined stain; and the diagrammatic line.&raquas found compositional device; the chance - determined stain; and the diagrammatic line.»

The New York Times art critic Holland Cotter wrote that «The drama is in the subtle chemistry of complementary colors, which makes the geometry glow as if light were leaking out from behind it.»

In the catalogue accompanying the exhibition, art critic Donald Kuspit writes: «Carol Ross gives us two kinds of sculpture: large, free ‐ standing works, implicitly monumental, sometimes evocative of nature, sometimes figurative, and smaller wall pieces, sculptures as flat as the wall on which they are placed as though they were paintings.

It was on this path, a few years into her 26 - year stint working for Newsday as a writer and art critic and her other job of writing television essays for Public Television's «The MacNeil / Lehrer Report» that she met the artist Louise Bourgeois and then found her way into the world of documentary filmmaking.

As Donald Kuspit, New York art critic, wrote in his description of Bob Nugent's work, «The vital layer, the layer of earth that supports life, that is the real theme of Nugent's works.»

The first writers to acquire an individual reputation as art critics in 18th - century France were Jean - Baptiste Dubos with his Réflexions critiques sur la poésie et sur la peinture (1718)[17] which garnered the acclaim of Voltaire for the sagacity of his approach to aesthetic theory; [18] and Étienne La Font de Saint - Yenne with Reflexions sur quelques causes de l'état présent de la peinture en France who wrote about the Salon of 1746, [19] commenting on the socioeconomic framework of the production of the then popular Baroque art style, [20] which led to a perception of anti-monarchist sentiments in the text.

Rodrigues Widholm has served as a juror and panelist for numerous organizations including the Headlands Arts Center, Creative Capital, New American Paintings, and been a visiting critic, graduate advisor, given numerous public talks, and has written extensively on contemporary art.

However, the critic Hilton Kramer, who remained a consistent supporter of his work, wrote, «it is as if the artist had abandoned his figures to the world of shadows in order to harness his art to a new world of color and light -LSB-...] If this is what an absence from the New York scene can do for a mature and thoughtful artist, it might be something worth thinking about as a regular program.»