The phrase "artists impulses" is not correct in written English; it should be "artist's impulses" or "artists' impulses" depending on the intended meaning.
You can use it when discussing the natural tendencies or motivations of artists in their creative processes.
Example: "The artist's impulses often lead to unexpected and innovative works of art."
Alternatives: "creative instincts" or "artistic urges".
There was a divide between the two Mexican artistic impulses, with some artists feeling that no matter how passionate they were about their country's history, art had other purposes.
Moreover, what seems random on the surface shields the self-organizing systems of the artist's impulses.
Forms are covered over with new forms--an impertinent yellow patch found peeking through a layer of blue and brown paint here, the vestiges of a de Kooning scribble asserting itself under an obliterating swathe of red there--leaving the viewer to contemplate the artist's impulses and decisions in the act of painting.
I keep relearning the concept of the artist"s impulse and the need to share; that the desire to express and loving the Zen of process are separate from seeking and desiring the admiration of strangers.
The point of wildlife art is its subject, and the uneven quality of some of these works — even by well-known wildlife artists — shows an impulse other than the purely aesthetic at work.
The rabbi answers: Do we?" Both artists explore inquisitive impulse in relationship to the Jewish identity, in both broad and specific settings.
"I think for many artists, the first impulse is to think, 'Why would I put a piece of art that took me months on a screen that is so small that you can't see the nuances?
Not shockingly, artists think that their impulses and ideas are theirs alone, not the epiphenomenal output of historical processes.
"I hope people will think of this era of the museum as a time that was certainly not predictable or boring, where an experimental atmosphere prevailed and the intuitions and impulses of artists were trusted," said Mr. Birnbaum.
Often she does, moving at breakneck speed from real-life political violence to the images of such violence (including those on human rights Web sites), to real violence in performance art (Chris Burden asking a friend to shoot him; Marina Abramovic inviting viewers to injure her), to the violent impulses of artists like Bacon.
