Sentences with phrase «young unknown artists»

Wherever young unknown artists make their work, there are, increasingly, fledgling dealers bent on showing it.

Nowadays it is more difficult for young unknown artists to be shown in a gallery.

Millions of people were out of work, and the prospects for young unknown artists were dim.

Even as a young unknown artist, he was deeply interested in experimentation, especially with novel media.

Not exact matches

In 1874, tired of being rejected by the Salon, a group of young unknown and slightly known artists got together and rented their own space for an exhibition of paintings and drawings timed to coincide with the official Salon.

The Geoffrey Young Gallery is proud to present «Pickup Lines,» an exhibition featuring work on paper by a brilliant cast of known and unknown artists from New York and Los Angeles, whose work will joust on the wall for aesthetic hegemony, critical supremacy, or ideological inscrutability.

She was a kid with platinum hair even back then, working in another gallery space (Daniel Newburg Gallery) that was then showing unknown artists like Maurizio Cattelan, John Armleder, and Rudolf Stingel, and she seemed to know every young artist and critic in town.

«The exhibition will include works by the major players on the contemporary scene in Moscow and St. Petersburg as well as works by younger artists and artists whose works may have remained relatively unknown in the new rush to the art market.»

But they are living icons and the artistic establishment surrounding these artists who were once young and unknown is now setting the public agenda.

Exhibitions range from historical surveys and in - depth retrospectives of major twentieth - century and contemporary artists to group shows introducing young or relatively unknown artists to a larger public.

In December 1951 quote, ASix unknown artists all quite young held a joint exhibition of their works in a loft studio at 813 Broadway.

Efforts through the early and mid 1990s were concentrated on anticipating trends, spotting latent talent and giving a much - needed platform to many previously unknown talents (Subodh Gupta - Group Show (1991) Solo Show (1993); Ashim Purkayasta - Young Contemporaries (1995), Solo Show (1999)- some artists who today rank amongst the most prolific of the younger generation.

Among the main female protagonists that inspired this research are Balkis Sharara, Rifat Chadirji's wife who in 1979 carried copies of his works into and out of Abu Ghraib allowing him to author three of his seminal books while in the prison; artist Nuha al - Radi whose diaries of 1990/91 describe the dynamics in the lives of Baghdad's people beyond the news coverage; an unknown young woman who stands out in the festivities of the gymnasium's 1990 new year concert; Fahrelnissa Zeid who was herself an artist (most recently the subject of a major exhibition at Tate Modern) and the wife of the Iraqi Ambassador in London when Le Corbusier received a telegram confirming the approval of his first design proposal for Baghdad; poet Iman Mersal who paid a solidarity visit to Baghdad under siege in 1993; Zaha Hadid whose architectural drawings influenced the imagination of architectural students in the 1990s; and others.

Similar to Witte de With's Voorwerk series, this group exhibition presented and juxtaposed works by relativily young, unknown artists, without the intention of defining positions.

In addition to such classics as Gordon Matta - Clark and Nam June Paik, the focus of the Julia Stoschek Collection is on the contemporary period, with almost all the major and innovative media artists of our age represented: Marina Abramovic, Ed Atkins, Francis Alys, Doug Aitken, Björk, David Claerbout, Keren Cytter, Simon Denny, Olafur Eliasson, Cyprien Gaillard, Isaac Julien, Bruce Nauman, Pipilotti Rist, Christoph Schlingensief, Ryan Trecartin, Jon Rafman and many more, including younger, (as yet) unknown artists discovered by Stoschek through studio visits, extensive travels and contacts in the scene.

Although still largely unknown in the wider art world, these new British artists are tipped as the successors to the famous Young British Artists of theartists are tipped as the successors to the famous Young British Artists of theArtists of the 1990s.

In a lot essay, Sotheby's described Basquiat's record - breaking painting and its impact: «The overwhelming visual dynamism of «Untitled» vehemently declared the arrival of the brilliant, then virtually unknown young artist into a world that would be forever transformed by his paintings.

Oftentimes the simple act of including a young artist, or an unknown older one, results in a high price.

At the time Wells Street Gallery opened, few galleries in Chicago or elsewhere for that matter were interested in the work of young unknown abstract artists.

Then came the inevitable backlash, the published lists of those neglected, the complaints about the ones chosen: that there aren't enough young and hip artists, that there is too much painting and not enough Conceptual and political art, that some artists are too well known, others are completely unknown and a few are just friends of the exhibition's curator, Klaus Kertess.

Benezra stopped next before Robert Rauschenberg's «Erased de Kooning Drawing, 1953,» noting how the young and relatively unknown Rauschenberg dared to knock on the door of Willem de Kooning's New York flat and ask the legendary artist for a drawing that he could then erase.

A number of exhibitions focus on artists who are relatively young and unknown.

SPRING, however reluctant, always brings a rise in the number of first shows, those gallery exhibitions by which artists young or unknown first dip into the ebb and flow of the New York art world.

It is hard to imagine the Whitney would include a painting by a young, unknown artist — especially one without an MFA — in a current Biennial, but that is another story.

After all, it is, as Parker says, «always viewed as a platform for younger, largely unknown artists.»

«Since the very beginning, dépendance introduced young artists to Brussels when they were relatively unknown,» says gallery owner Michael Callies.

This spotlight on Switzerland promotes the wealth and diversity of the young Swiss scene through a selection of galleries and artists that are completely unknown or seldom seen in France.

There are over 300 artists in the exhibition, both known and unknown, older and younger.

«Viva Arte Viva also seeks to convey a positive and prospective energy, which whilst focusing on young artists, rediscovers those passed away too soon or those who are still largely unknown despite the importance of their work.»

A sculpture made of pink light bulbs dominated Franco Noero's space — it was an old - fashioned telephone handle by the British artist Mark Handforth, a post-Pop take on an object that is all but unknown by the younger generation.

Though hardly unknown or disrespected (he has influenced entire generations of younger artists), I think of Dunham as the Cy Twombly and later Philip Guston of our times.

Richard Serra, a young, relatively unknown artist at the time, began to create works from unconventional materials that emphasized gravity and process.

The traditional focus on yet widely unknown international positions is unregularly extended by artists of an older generation, who turned out to be highly influential for a younger artistic production (such as Jan Bas Ader, John Baldessari, Trisha Brown, André Cadere, John Stezaker or Matt Mullican).

The show following that of Dumas et al will be an exhibition of works by younger artists, including Cecily Brown; finally, he will show paintings by relatively unknown, emerging artists.

1956 Society of Sculptors and Associates, David Jones Gallery, Sydney, AU The Seasons (organised by the Contemporary Art Society), Tate Gallery, London, UK Artists of Fame and of Promise, presented by the Leicester Galleries, Brown Thomas Little Theatre, Dublin, IE Britisk Kunst 1900 — 1955, Kunstforening, Copenhagen, DK British Nátidskunst, Kunstnernes Hus, Oslo, NO Exposition Internationale de Sculpture Contemporaine, Musée Rodin, Paris, FR An Exhibition of Contemporary British Art, Silbermann Galleries, New York, US Mostra dei Premiati alla XXVIII Biennale, Messina, IT Yngre Britiska Skulptörer, Gothenburg, SE; Sandviken, SE; Linköping, SE; Tranås, SE; Lund, SE; Hälsingborg, SE; Halmstad, SE; Falkenberg, SE; Orebro, SE; Stockholm, SE 1955 Young British Sculptors (touring exhibition organised by the Arts Club of Chicago in collaborationwith the British Council), Arts Club of Chicago, Chicago, US; Walker Art Center, Minneapolis, Minnesota, US; Contemporary Arts Center, Cincinnati, Ohio, US; Albright Art Gallery, Buffalo, New York, US; Art Gallery of Toronto, CA The New Decade: 22 European Painters and Sculptors, Museum of Modern Art, New York, US; Minneapolis Institute of Arts, Minnesota, US; Los Angeles County Museum, California, US; San Francisco Museum of Art, California, US Summer Exhibition, Gimpel Fils, London, UK Eisenplastik, Kunsthalle, Bern, CH Documenta: Kunst des XX., Jahrhunderts, Kassel, DE Twentieth Century Sculpture (Victoria and Albert Museum Circulation Department), Harrogate Art Gallery, UK 54th London Group, Whitechapel Art Gallery, London, UK Contemporary Painters, Sculptors and Craftsmen, City Art Gallery, Leeds, UK Junge Englische Bildhauer (organised in association with the British Council), Kunstverein, Munich, DE; Württembergische Staatsgalerie, Stuttgart, DE; Kunstverein, Freiburg, DE; Staatliche Kunsthalle, Karlsruhe, DE, Städtische Kunsthalle, Recklinghausen, DE; Kunstsammlungen der Stadt, Düsseldorf, DE; Kunstlering, Rotterdam, NL 1954 Sculpture in the Open Air (London County Council Third International Exhibition), Holland Park, London, UK Of Light and Colour, Gimpel Fils, London, UK British Painting & Sculpture, Whitechapel Art Gallery, London, UK 53rd London Group, New Burlington Galleries, London, UK 1953 The Unknown Political Prisoner (sponsored by the Institute of Contemporary arts), Tate Gallery, London, UK IXe Salon de Mai, Palais de New York, Paris, FR Sculpture in the Home (Arts Council touring exhibition), College of Art, Gloucester, UK; Cotton Board, Manchester, UK; Temple Newsam House, Leeds, UK; County Museum, Warwick, UK; School of Art, Glasgow, UK; Art Gallery, Aberdeen, UK; School of Art, Great Yarmouth, UK; Laing Art Gallery, Newcastle, UK; New Burlington Galleries, London, UK 2e Biennale de la Sculpture, Middelheim Park, Antwerp, BE Collectors» Choice, Gimpel Fils, London, UK 52nd London Group, New Burlington Galleries, London, UK 1952 Seven British Contemporary Artists, Black Hall, Oxford, UK New Aspects of British Sculpture, XXVI Biennale, Venice, IT Summer Exhibition, Gimpel Fils, London, UK 51st London Group, New Burlington Galleries, London, UK 1951 American Abstract Artists Group, 15th Anniversary Invitation Exhibition, Riverside Gallery, New York, US Festival of Britain, South Bank, London, UK Sculpture: Second International Exhibition of Sculpture (organised by the London County Council in association with the Arts Council), Battersea Park, London, UK British Abstract Art, Gimpel Fils, London, UK 50th London Group, New Burlington Galleries, UK 1949 Summer Exhibition, Gimpel Fils, London, UK 48th London Group, New Burlington Galleries, UK Galerie de France, Paris, FR

And yet, Ms. Freilicher, who is 73, still remains largely unknown outside the art world, appreciated mostly by other artists and by writers with whom she became friends as a young woman in New York during the 1950's, when Frank O'Hara wrote a whole cycle of poems about her, and Larry Rivers slit his wrists after she left him.

Since then Saatchi Gallery — housed in the historically significant Duke of York HQ — has continued its mission to provide a platform for unknown, young, contemporary artists both homegrown and international.

This show includes legends in the field, some «overlooked» older artists, some completely unknown young artists, and indeed many of the most exciting emerging and established artists in the genre.

The artists were among a circle of friends who began their careers at Tanager Gallery on 10th Street, an artists» cooperative that as Frank O'Hara wrote in Kulchur 6 in the summer of 1962 was able to «confer on a first show by an unknown artist a distinction pretty much unavailable to the younger artist elsewhere.»