Sentences with phrase «american art cinema»

Directed by James Bruner, this is American art cinema at its most serious and self - conscious.

Not exact matches

He graduated from American University with a BA in film and media arts and a minor in cinema studies.

Morita's work in The Karate Kid is iconographic — the character functions like any number of old Asian man archetypes from martial arts cinema, but, transplanted to American pop (his arrival softened by Yoda in The Empire Strikes Back), Miyagi becomes something like an albatross for Asians in modern Western culture not for its incompetence, but for its tonal perfection.

by H.G. Lewis; «Two Thousand Maniacs Can't be Wrong» filmmaker Tim Sullivan on H.G. Lewis» gore classic; «Hickspoitation: Confidential» visual essay on the depiction of the American South in exploitation cinema; «David Friedman: The Gentlemen's Smut Peddler» tribute to legendary producer David F. Friedman featuring interviews with H.G. Lewis, filmmakers Fred Olen Ray and Tim Sullivan and editor Bob Murawski; «Herschell's Art of Advertising» in which Lewis shares his expert opinion on the art of selling movies; «Two Thousand Maniacs!&raqArt of Advertising» in which Lewis shares his expert opinion on the art of selling movies; «Two Thousand Maniacs!&raqart of selling movies; «Two Thousand Maniacs!»

The Wild West has long been a focus of American cinema and art.

But there are other, more interesting similarities: both movies are reminiscent of the European art films whose sexual frankness galvanized the American cinema in the 1960s and»70s.

It's still not the best tribute to American New Wave cinema in theaters this year: that would be «Inherent Vice,» a meandering yet vibrant piece that seems to have fully absorbed all the different bits of popular art that fed its writer - director Paul Thomas Anderson's aesthetic, and that seems to have nothing to prove and is content to simply be.

40th anniversary of the Steadicam, Molly Haskell on Paul Verhoeven's Elle, Kenneth Lonergan's Manchester by the Sea, LGBT characters in American cinema, the hidden art of VFX, Kent Jones on the marginalization of cinema, Billy Lynn's Long Halftime Walk

On the occasion of his recent solo exhibition To New York With Love at James Fuentes Gallery, Jonas Mekas, the indefatigable advocate of American independent cinema, graciously took the time out of his busy schedule to meet with the graduate students of the Art Criticism and Writing program at the School of Visual Arts for an in - depth conversation.

«Dreamlands» spans over 100 years of works by American artists and filmmakers along with a handful of works of German cinema and art from the 1920s which influenced or connects with American art and film.

The interaction of art and cinema throughout the 20th and 21st centuries progresses fitfully across «Dreamlands: Immersive Cinema and Art, 1905 - 2016,» an ambitious sprawl of an exhibition that has taken over the Whitney Museum of American Art's vast fifth floor — a space whose flexibility is once more impressively demonstratart and cinema throughout the 20th and 21st centuries progresses fitfully across «Dreamlands: Immersive Cinema and Art, 1905 - 2016,» an ambitious sprawl of an exhibition that has taken over the Whitney Museum of American Art's vast fifth floor — a space whose flexibility is once more impressively demonstratArt, 1905 - 2016,» an ambitious sprawl of an exhibition that has taken over the Whitney Museum of American Art's vast fifth floor — a space whose flexibility is once more impressively demonstratArt's vast fifth floor — a space whose flexibility is once more impressively demonstrated.

The collection has particular strengths in Ming and Qing dynasty Chinese painting, Mughal dynasty Indian miniature painting, Baroque painting, old master prints and drawings, early American painting, nineteenth - and early - twentieth - century photography, Conceptual art, international contemporary art, West Coast avant - garde film, international animation, Soviet cinema, early video art, and the largest collection of Japanese films outside of Japan.

This English perspective, as manifested through American landscape, cinema, literature, and art, is defined as a generalization and idealization of American identity and history.

Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art and at the University of Michigan Museum of Art, Ann Arbor, as well as recent solo and group exhibitions including Utopia for Sale?

Occupying a space between sculpture, cinema and drawing, his work's historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964 - 77 at the Whitney Museum of American Art, New York (2001 - 2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at the Museum Moderner Kunst, Vienna, Austria (2003 - 4); The Expanded Eye at the Kunsthaus Zurich, Switzerland (2006); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin, Germany (2006 - 7); The Cinema Effect: Illusion, Reality and the Projected Image at the Hirshhorn Museum, Washington, DC (2008); The Geometry of Motion 1920s / 1970s at the Museum of Modern Art, New York (2008); and On Line at the Museum of Modern Art, New York (2010 - 11).

Other credits include working in the Andy Warhol Film Project at the Whitney Museum of American Art and a former executive director of Ocularis, a Brooklyn - based organization dedicated to avant - garde cinema, video and new media.

Born in northern Lithuania, in the hometown of Jonas Mekas - God father of American avant - garde cinema, she has been dabbling in art and experimenting with different materials since early childhood.

The first exhibition to integrate cinema into a history of American art, Moving Pictures features approximately 100 artworks and 50 films.

Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art, New York, as well as in recent solo and group exhibitions including Utopia for Sale?

This, combined with constant inspiration drawn from classical comic book imagery, pop art and American cinema (especially the horror genre), as well as the aesthetic of classic prints (Durer, Goya, Daumier, Kathe Kollwitz, etc.), creates Hancock's unique approach to collaged painting.

Roxana Marcoci, Senior Curator in the Department of Photography at MoMA and curator of the exhibition, and Chrissie Iles, Anne and Joel Ehrenkranz Curator at the Whitney Museum of American Art, discuss selected works in the exhibition and how they relate to theoretical topics like painting as information, the active object, expanded cinema, performance as transmission, transitive networks, and collective forms of authorship.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

At a moment when questions of race, equity and representation are paramount, this streak marks an interesting moment for Los Angeles — one that has allowed for the city to take in a broad range of works by black artists: from the intricate assemblages of Purifoy (who passed away in 2004 at the age of 86) to the video work of Joseph, who is just 33, and whose art is inspired by everything from Russian avant - garde cinema to African American films of the 1970s.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

Jennifer West's Flashlight Filmstrip Projections in «Dreamlands Expanded,» a series of expanded cinema events organized in collaboration with the Whitney Museum of American Art October 31 — January 15, 2016.

In 2005 Colton debuted in Houston «The godfather of American avant - garde cinema», Jonas Mekas, in the solo exhibition Film Framed, and at the same time started the movement to revere Houston art history through representing the Estate of Suzanne Paul.

«By that I mean the treks and explorations I take through urban street culture, music, cinema, Native American art and the American West.

16 Aug 2006 American Underground Film Season at IMMA A season of rarely - seen films from a defining period in the history of American underground cinema opens at the Irish Museum of Modern Art on Friday 15 September 2006.

BOOKS by Jerry Schatzberg «Women Then: Photographs 1954 - 1969» [Hardcover] by Julia Morton (Author), Jerry Schatzberg (Photographer), Gail Buckland (Preface) published by Rizzoli, 1st edition (October 12, 2010) «Paris 1962: Yves Saint Laurent and Dior, Christian Dior, The Early Collections» [Hardcover] Jerry Schatzberg (Author), Julia Morton (Author), Patricia Bosworth (Introduction) published by Rizzoli, 1st edition (April 29, 2008) «Thin Wild Mercury: Touching Dylan's Edge» [Hardcover] Jerry Schatzberg (photographer) published by Genesis Editions, collector & deluxe edition (2006) EXHIBITIONS: Solo & Retrospectives (selected) 2013 ART BASEL MIAMI, Nikola Rukaj Gallery 2013 ART SOUTHHAMPTON, N.Y., Nikola Rukaj Gallery 2013 CONTACT Photography Festival, Toronto, «Schatzberg» 2013 AIPAD, Steven Kasher Gallery, N.Y. 2011 MUSEE MAILLOL, Banyuls Sur Mer, France, «Bob Dylan» 2009 INSTITUT LUMIERE, Lyon Film Festival, Lyon, France 2008 PROUD GALLERY, London, U.K., «Bob Dylan» 2006 LE GRAND PALAIS, Paris, France, «Bob Dylan» 2006 GALLERIE LUC BELLIER, Paris, France, «Bob Dylan» 2006 ATLAS GALLERY, London, U.K., «Jerry Schatzberg: Photographs» Retrospective 2004 SOFIA FILM FESTIVAL BULGARIA, Sredetz Gallery 2003 JANOS GAT GALLERY, N.Y., «Behind the Scene, a Collection» 2003 STALEY / WISE, N.Y., «Homonym» 2002 HELLENIC AMERICAN UNION Athens, Greece, Retrospective 2002 MUSEUM OF CINEMA, Torino, Italy, Retrospective 2002 ALBA INTERNATIONAL FILM FESTIVAL, Retrospective 2001 INTERNATIONAL THESSALONIKI FILM FESTIVAL, Greece 2000 DINA VIERNY, Paris, France, Retrospective 1999 PAMUKBANK FOTOGRAF GALERISI, Istanbul, Turkey 1996 STALEY / WISE N.Y., Retrospective 1985 ALLIANCE FRANCAIS N.Y., «Behind The Scene, a Collection» 1983 CENTRE POMPIDOU, Paris, France, Retrospective

The Andy Warhol Film Project began in the 1980s when the Whitney Museum and The Museum of Modern Art (MoMA) agreed to collaborate on the largest archival research project in the history of American avant - garde cinema: to catalogue Warhol's massive film collection, investigate its history, and preserve and re-release all of the films in conjunction with a program of scholarly research and publication.

The Wild West has long been a focus of American cinema and art.