Sentences with phrase «cinematic arts at»

She is currently a visiting professor in the Department of Cinematic Arts at University of Iowa.

He's now a teacher at the School of Cinematic Arts at the University of Southern California, in the institute's Interactive Media Division.

Not exact matches

At the USC CBC she brings together various USC schools, including Cinematic Arts and USC Athletics, to help create the future of digital medicine.

According to Marientina Gotsis, director of the Creative Media & Behavioral Health Center at the University of Southern California School of Cinematic Arts, not a lot.

Although Green's cinematic escapades earned a few comparisons to 1970s performance art, Freddy Got Fingered was mostly blasted for its technical crudity and general witlessness, and died a swift death at the box office.

He teaches at the USC School of Cinematic Arts, appears regularly on Turner Classic Movies, and hosts the weekly podcast Maltin on Movies for the Nerdist network with his daughter Jessie.

There may be better examples of cinematic art in 2013, but for a good time at the movies, it's hard to imagine anything beating this action extravaganza, from director Roland Emmerich, about a very Obama - like president.

She also spent one summer at USC Cinematic Arts studying film production.

At this point it may be tempting to call Smith's vision «cinematic,» as more than a few professorial types in the past have staked a claim on his lyrics for literature, but this ignores the unbridgeable gaps between aural, written, and moving - image art — and he remained stubbornly a man of rock»n' roll.

She is the former SVP of Development for David E. Kelley Productions, and presently an adjunct professor at the USC School of Cinematic Arts in the writing division.

Todd Boyd, professor of critical studies at USC School of Cinematic Arts, believes that Poitier's win «marks a major transition» away from the archetype roles.»

Todd Boyd, professor at the USC School of Cinematic Arts, pointed to the explosion of blaxploitation films in the 1970 which were cheap to produce and financial hit.

It seems like everyday there is something to be said about the Marvel Cinematic Universe, or at the very least some new art for Avengers: Age of Ultron.

Mercifully, at least no one referred to Renoir's masterpieces as «cult films», that patronising description that acts as the discursive gatekeeper allowing our intellectuals to avoid engagement with the beauties and complexities of cinematic art.

The San Francisco Jewish Film Festival — an annual cinematic celebration of what it means to be Jewish and art made by Jews — kicks off tonight at the Castro...

He teaches at the USC School of Cinematic Arts, appears regularly on Reelz Channel and Turner Classic Movies, and hosts the weekly podcast Maltin on Movies with Baron Vaughn on the Earwolf network.

Upon moving to Hollywood he earned a master's degree from USC while substitute teaching before taking the full - time job at LAUSD / USC Cinematic Arts and Engineering Magnet.

Henry Jenkins, Provost's Professor of Communication, Journalism and Cinematic Arts, USC Annenberg in conversation with Futurist at Intel Corporation, Brian David Johnson and Cory Doctorow, Science fiction author, activist, journalist and blogger.

Neocrisis - USC Game Innovation Lab at the USC School of Cinematic Arts has released «Walden, a game» on the PS4.

This is only the beginning as we'll have also have a monster feature with info and art along with a look at Geralt's six fighting styles, a look at the game's many NPCs, a video showing off a quest string along with a lot of cinematic and fighting footage, and the review and video review.

Meanwhile, and ad over at Forza developer Turn 10 (via CVG) sees the studio asking for a cinematics art director capable of «defining and driving the cinematics vision and techniques needed to achieve exceptionally high quality content for our Next Generation of games.»

The author of Community Building on the Web and adjunct Game Design professor at the USC School of Cinematic Arts oversees a team that designs smart games for a connected world.

Students of USC's Interactive Media Program at USC's School of Cinematic Arts, Chen and Santiago were major proponents of showcasing ideas and feelings that gaming hadn't explored in the past.

What's more, Andrew Toups has a smack at the game over at ActionButton.net, commenting: «Yes, God of War 2 has meticulously rendered backdrops, skillful, inspired art direction, sweeping, breathtaking vistas, a dramatic, cinematic score, cleverly designed stage layouts, and setpiece after memorable setpiece.

The placing, Saturday morning cartoon cinematics pull you into an equally attractive pixel - art world, the place each little element is probably going one thing vital out of your childhood, at the least should you're over 30 years outdated.

Occurring through October 14 - 16, the University of Southern California and IndieCade are proud to announce that this year's festival of independent games will be hosted at the School of Cinematic Arts.

AS: I've been working with my editor since we met at USC's School of Cinematic Arts in the early 1990s.

Selected Group Exhibitions 2016 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2015 — «Wish List», Gallery Project, curated by Gloria Pritschet and Rocco DePietro, Toledo, Ohio and Ann Arbor, Michigan 2015 — «Roots», Linda Warren Projects, Chicago, IL 2015 — Noyes Cultural Arts Center, Evanston, IL 2015 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2014 — «National Contemporary Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New York, NY

Won Ju Lim's Casting lightboxes — each self - contained theaters of moving parts and literary, cinematic and art historical references — are on view at the Palo Alto Arts Center.

Here Wilcox revisits the «cinema in - the - round» panoramic presentations that appeared at the dawn of film history in the late 19th century, bringing the concept up to date with state - of - the - art technology to create an immersive cinematic environment.

He has taught and lectured widely, with appointments at Cooper Union, San Francisco Art Institute, California Institute of the Arts, School of Visual Arts, and is currently an Associate Research Professor in the Division of Media Arts + Practice at the USC School of Cinematic Arts.

In addition to Playtime and KAPITAL, a third artwork by Julien will inaugurate the San Francisco Art Institute's newly constructed Grey Box media gallery at FMCAC — Better Life (Ten Thousand Waves)(2010)-- the cinematic cut of Julien's monumental installation Ten Thousand Waves, filmed on location in mainland China.

His socio - cinematic installation, «Reality Cinema / LIVE VIDEO» for which he built a theater screening live footage from the street outside premiered at Art in General in 2009.

Drawing on the use of elliptical conversations in the 1961 film Last Year at Marienbad by Alain Resnais as a point of departure, the exhibition features works of art that utilize various cinematic conventions, such as editing, character development, narrative, mise - en - scène and montage, to reveal how our understanding of reality is often mediated by those very cinematic techniques.

American Film Institute Conservatory Bard College Brooklyn College California College of the Arts California Institute of the Arts Claremont Graduate University Columbia University, School of the Arts, Visual Arts Division Cornell University, College of Architecture, Art, and Planning, Department of Art, M.F.A. Program Cranbrook Academy of Art Harvard University Hunter College (CUNY), Department of Art MIT, Visual Arts Program New York Academy of Art New York University, Tisch School of Art, Film Program New York University, Tisch School of Art, Interactive Telecommunications Program Pratt Institute Rensselaer Polytechnic Institute Rhode Island School of Design Rutgers, The State University of New Jersey, Mason Gross School of the Arts School of the Art Institute of Chicago School of Visual Arts Skowhegan The Core Program at The Glassell School of Art, Museum of Fine Arts, Houston The Glasgow School of Art The Whitney Museum of American Art Independent Study Program Tyler School of Art University of California Los Angeles University of California, Berkeley University of California, San Diego University of Michigan, School of Art and Design University of Pennsylvania University of Southern California School of Cinematic Arts Virginia Commonwealth University School of the Arts Yale University School of Art

Brown received her MFA in Studio Art from the University of Texas at Austin in 2013 and her BA in Cinematic Arts and Technology from California State University Monterey Bay in 2010.

This is an excellent name dropping opportunity for those who like to pretend to care about art even if they haven't looked at the stuff since 1987, when Andrew McCarthy starred in the cinematic version of Ellis's seminal LA novel, Less Than Zero.

«Mexican Slip», the group show presented at Hilario Galguera Gallery, exhibits contemporary art as the anticipation of a new nature: a cinematic travel on a huge landscape made of videos, paintings and sculptures, where nature, urban elements and machinic ones have melted.

«The Turner Prize», Ebrington, Derry - Londonderry (cat) «Art from Britain and Poland since 1990», Centre for Contemporary Art, Ujazdowski Castle, Warsaw «Folk Devil», David Zwirner, New York «Cinematic Visions: Painting at the Edge of Reality», Victoria Miro, London «The Future Generation Art Prize@Venice 2013», 55th International Art Exhibition — la Biennale di Venezia, Palazzo Contarini Polignac, Venice «The Encyclopedic Palace», 55th Venice Biennale, Venice «The Souls — A Twice - Told Tale», CEAAC, Strasbourg «The Roving Eye: Aura and the Contemporary Portrait», Oakland University Art Gallery, Oakland University, Rochester, MI

Alongside a selection of color plates, Michael Darling, James W. Alsdorf Chief Curator at the MCA, reviews the works in the exhibition within the context of the artist's career; Chrissie Iles, Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art, examines the artist's position within photographic and cinematic history; and novelist Kate Zambreno considers the fragments of lost objects and what it means to collect.

«Entitled, The Cinematic Impulse», Nasher Museum of Art at Duke University, Durham, North Carolina, USA «Un été Sicilien», Le Château de Nyon, Nyon, Switzerland «Cinematic Visions: Painting at the Edge of Reality», Victoria Miro Gallery (co-curator with James Franco and Glenn Scott Wright), London, UK

Shows in NYC at Lehmann Maupin, museum shows in Washington DC at Corcoran, and a soon - to - be show at M+B Gallery in Los Angeles have the artist spreading the coast with her cinematic fine art photography.

New York - based artist Wu Tsang's experimental, cinematic meditation on the revolutionary Chinese poet and feminist Qiu Jin at Spring Workshop was one of the hit exhibitions during Art Basel in Hong Kong this past March.

,» Ellis King, Dublin, Ireland; «Imagine,» Brand New Gallery, Milan, Italy; «Introductions,» La MaMa La Galleria, New York, NY; «Eden, éden,» Galerie Torri, Paris, France, curated by Timothée Chaillou; «The Ukrainian Diaspora: Women Artists 1908 - 2015,» The Ukrainian Museum, New York, NY; «Painters NYC,» Páramo Galeria, Guadalajara, Mexico, traveled to Museo de los Pintores Oaxaqueños (MUPO); «Disturbing Innocence,» The FLAG Art Foundation, New York, NY; «Sargent's Daughters,» Sargent's Daughters, New York, NY; «The Golden Ass,» Blindarte Contemporanea, Naples, Italy; «Cinematic Visions: Painting at the Edge of Reality,» Victoria Miro, London, England; «Pivot Points: 15 Years & Counting,» Museum of Contemporary Art North Miami, Miami, FL; «Fairy Tales, Monsters and the Genetic Imagination,» Frist Center for the Visual Arts, Nashville, TN, traveled to Winnipeg Art Gallery, Winnipeg, Canada; Glenbow Art Museum, Calgary, Canada; and «The Sound of Painting,» Palazzo Saluzzo Paesana, Turin, Italy.

/ performances 2017 Audible Edge Festival, Tone List and Tura New Music, Perth 2016 Everyday Machines, curated by Tom Smith, Alaska Projects, Sydney 2016 NOW now series, 107 Projects, Sydney 2016 Pretty Gritty series, 107 Projects, Sydney 2016 Electrofringe: New Terrains, Top Floor at Wellington, Sydney 2014 perspectives [temporal], solo audio - visual concert, Perth Institute of Contemporary Arts 2014 Club Zho 111, The Bakery, Perth 2014 NOW now Festival of Arts, Sydney (as Té with Andrew Brooks) 2012 - 14 multiplicity - large - scale, dual - screen audio - visual work presented at: Perth Cultural Centre Screen Program, 2014; Test Tone, SuperDeluxe, Tokyo, Japan, 2013; Channels Video Art Festival, Melbourne, 2013; fractal shale, Perth Institute of Contemporary Arts Performance Space, 2012; NOW now festival program launch, Sydney, 2012; fractal shale, Tape Projects, Melbourne, 2012 2014 Cinematic Scores, live soundtrack to Laszlo Moholy - Nagy's Lichtspiel Schwarz Weiss Grau, Perth Fringe Festival, Packenham Street Art Space, Perth 2013 International Computer Music Festival, Western Australian Museum (as Té with Andrew Brooks) 2012 - 13 consciousness - large - scale audio - visual work presented at: Nu Things, Osaka, 2013; Tape Projects, Melbourne, 2012; AV Union, Sydney, 2012; Terrace Bar, Newcastle, 2012; The Bakery, Perth, 2012 2013 Japan tour, solo audio - visual performances and as Té with Andrew Brooks, Osaka, Kyoto, Tokyo 2011 Improvised performance with Philip Zoubek and Andrew Brooks, The Loft, Cologne, Germany 2011 split mirror planes - for four instruments and four audio / visual sources, commissioned by Decibel new music ensemble — premiered at Perth Institute of Contemporary Arts 2010 Japan tour, solo performances, Osaka, Kyoto, Tokyo 2010 lucidity - major composition for electroacoustic ensemble: acoustic instruments, computer processing, sound synthesis and video projections performed at The Bakery, Perth

«From the Collection: Looking at Process,» de le Cruz Collection Contemporary Art Space, Miami, FL, December 3, 2013 — October 11, 2014 «Postscript: Writing After Conceptual Art,» MCA Denver, Denver Colorado, June 21 — September 2, 2013 «Cinematic Visions: Painting at the Edge of Reality,» Victoria Miro Gallery, June 8 — August 3 2013 «Black and White,» Galerie Sho Contemporary Art, May 7 — June 8, 2013 «Speak, Memory,» The Wallach Art Gallery, New York, NY, May 1 — June 8 2013 «Network of Mutuality: 50 Years Post-Birmingham,» The Art Gallery, University of Maryland, College Park, MD, January 30 — April 27, 2013

Intelligently selected by Spellman College museum director Andrea Barnwell Brownlee and Valerie Cassel Oliver, a curator at the Contemporary Arts Museum Houston, the two - part exhibition brings together over forty artists who work in cinematic video, installation, and projection.

Recent exhibitions include «Within Living Memory», Carpenter Center for the Visual Arts at Harvard University, Cambridge (2018); «Facing», Prefix, Toronto; «Cinematic Migrations» and «Tracing», XXII CSAV — Artists Research Laboratory, Fondazione Antonio Ratti, Como; and «Spacing», Lumiar Cité, Lisbon (all 2016).

Most recently, Thomas was a Provost's Postdoctoral Scholar in the Humanities at the University of Southern California, where he co-directed, along with the USC School of Cinematic Arts, a restoration and screening project dedicated to the countercultural filmmaker Fred Engelberg.

A version of his cinematic portrait of Zidane — a black and white film in which the camera follows just the footballer in the space of a 90 - minute game and which was shown to great acclaim at the Cannes Film Festival — has also been bought by Scottish National Gallery of Modern Art.