Sentences with phrase «like other artists in this show»

Like other artists in the show, Hoff uses this piece to highlight the limited ability of translation to accurately represent an original text.

Like other artists in this show, de Vries also works closely with mediums he transfigures with ecological concepts and strategies.

Not exact matches

Learning objectives To develop a detailed collage on oneself and to discover how other artists have represented their own identity - Cindy Sherman, Barbara Kruger and Mariel Amelia Showing examples of composition planning of collage - drawing out ideas for collage Using a text artists like Miss Wilcox and adding in words to add to identity image of oneself - adding in text in the photoshop work and then in the fabric work.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Other artists in the show, like Melvin Edwards and Jones himself, were former athletes and reflect on sports in a more implicit way.

Most galleries like to work with established and known artists to be safe.How does an upcoming artist break through this glass wall created by galleries?Either I have to be terrific in my work for them to want me or I have to go gallery hopping to show them my works.What are the other options?

In addition to the 1988 Courbet retrospective, Nochlin organized other seminal shows, like «Women Artists: 1550 to 1950» at the Los Angeles County Museum of Art, which she curated with Ann Sutherland Harris in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200In addition to the 1988 Courbet retrospective, Nochlin organized other seminal shows, like «Women Artists: 1550 to 1950» at the Los Angeles County Museum of Art, which she curated with Ann Sutherland Harris in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in 2007.

It offers a cheap excuse for a crowd pleaser, much like the Met's own «Regarding Warhol» or like Picasso in black and white at the Guggenheim — two other shows of demanding artists, decent work, lame excuses, and deep flaws.

December 2006 Beware the Holiday Punchbowl: An Evening of Cautionary Songs and Stories SI Museum, Staten Island, NY February 2006 MY NEW YORK SLIP: A Post-Valentine's Day Post-Mortem w / Minnie Van Driver SI Museum, Staten Island, NY February 2005 FREE LOVE w / Minnie Van Driver The Muddy Cup, Staten Island, NY April 2003 Ask Minnie Day de Dada Part Deux, The Muddy Cup, Staten Island, NY April 2002 Love Songs & Posh Tunes Day de Dada, The Muddy Cup, Staten Island, NY Feb. 1996 Original Soundtrack Dixon Place, NYC, NY Feb. 1991 The Odile Variations Theater 22, NYC, NY May 1987 Looking Good: Reuben Sandwich at The Saint The Saint, NYC, NY Apr. 1986 The Wakitty WAC's, A USO show for the New Militarism Darinka, NYC, NY Aug. 1985 Prime Parts 8 BC, NYC, NY May 1985 Trite»N' True: an unexplained series of events Darinka, NYC Mar. 1985 HEARTBREAKLAND: a performance Darinka, NYC Dec. 1984 Nocturnes Darinka, NYC Nov. 1983 Bars of Night a performance BACA, Brooklyn, NY July 1983 Man Machine / Men Magazine: a performance Inroads Multimedia Art Center, NYC, NY 10012 July 1981 Europarail: Images of Other Places Inroads, NYC Dec. 1980 I Hear America Eating: a massive media piece Rutgers University, NJ July 1980 Love is Like a Poached Egg: a performance 15th Annual Avant - Garde Festival, NYC Apr. 1980 Meteors Crossing: an exercise in 25 acts Franklin Furnace, NYC, NY Grants 2011 Visual AIDS Artists» Material Grant 1985 185 Nassau Street Corporation

Like many of the other artists in the show, he hybridizes traditions.

Coming off his Balloon Dog (Orange), which sold last November for $ 58.4 m (# 34m), the highest price ever paid for a living artist, two other shiny sculptures adorned the catalogue covers of Sotheby's and Christie's spring sales, with Jim Beam — JB Turner Train, the stainless steel train filled with bourbon, selling for $ 33.7 m, and Popeye going to Steve Wynn's Las Vegas casino for an above - estimate $ 28.1 m. Fans packed in like sardines last year for Koons's solo shows at New York's Gagosian and Zwirner galleries, which pitted his Gazing Ball plaster casts against work just off the production line, and are currently filing through Rockefeller Center to view Split - Rocker, rising 37 feet (11 metres) in the air, with the hairs of its 50,000 living flowers standing on end.

For a cheeky group show «With friends like you...» — a subtle dig at the Cuban art Establishment — Aquiles covered the façade of their home in a Technicolor cladding of cans while six other artists took over the inside with process - based paintings made with human breath, conceptual sculptures hewn from business cards and palettes, and a sculptural installation by the couple's 17 - year - old son, Bastian Silvestre, that comments on the police - related shootings in the U.S..

Like the artist's series The Hyena and Other Men, which was shown at the gallery in 2007, Nollywood focuses on a unique cultural community in Africa.

Would I like to exhibit in a group show at the American Crafts Museum with four other artists?

Houston artist Marzia Faggin made a splash in 2011 with her Nau - haus Art solo show of life - size painted cast - plaster still lifes of potentially addictive pills like Lithium, Xanax and Adderall, which she juxtaposed with equally convincing replicas of equally addictive chocolates, cookies and other sugary snacks.

Social Media takes a long view that starts in the 1960s with Robert Heinecken (the show's one pre-internet artist), who altered magazines like Time and Mademoiselle with his own collages and put them back on supermarket racks for others to stumble on.

As Thierry de Duve has shown, much of Duchamp's work — including his abandonment of painting — followed from the recognition that the can or tube of paint had long been a readymade, industrially produced commodity like any other.10 As Duchamp remarked in 1961, specifically addressing Rauschenberg among others: «Since the tubes of paint used by the artist are manufactured and readymade products, we must conclude that all the paintings in the world are «Readymades aided» — and also works of assemblage.»

It showed us that there's this demand for great craftsmanship for the Lalique heritage and how we make things but also in a way that's exciting and collectible like art pieces and that's when we decided it would be interesting to collaborate with other artists and bring them within our design atelier so we could create shock and push boundaries again.

In this show the serenely sphinx - like faces are a template through which the artist can systematically explore the concerns of painting and drawing, not ignoring the sentimental implications of rendering a human likeness, but by their blankness and repetition allowing the viewer to move on to other aspects of the work besides «who is this» or «what can I learn about this person.»

As in many other works, the artist uses complementary colours like blue and orange to focus the viewer's attention, showing the influence of the colour theory class he took under Josef Albers at Yale University.

As the show's title expresses, the predominance of abstract expressionism in midcentury American modernism eclipsed the work of Porter and other artists like him who chose to work in a figurative vein.

There are scores of other recent examples of secret art — shows of paintings by Wade Guyton and Stephen Prina that appear suddenly, announced to only a select group, each year for a single day at Friedrich Petzel Gallery (most recently in March); a two - person show last summer at the Untitled gallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at select times.

«In 2005 the Rubells had a series of conversations with artists Kelly Walker and Wade Guyton, who talked about the generosity of some artists in the nature of their work. Walker and Guyton described how artists like Cady Noland, Andy Warhol, Marcel Duchamp and Richard Prince opened doors for other artists like themselves to walk through. The Rubells had never heard that opinion expressed as honestly before.  This show was borne out of those conversations, and its title comes from a quote attributed to Picasso: «Good artists borrow, great artists steal.&raquIn 2005 the Rubells had a series of conversations with artists Kelly Walker and Wade Guyton, who talked about the generosity of some artists in the nature of their work. Walker and Guyton described how artists like Cady Noland, Andy Warhol, Marcel Duchamp and Richard Prince opened doors for other artists like themselves to walk through. The Rubells had never heard that opinion expressed as honestly before.  This show was borne out of those conversations, and its title comes from a quote attributed to Picasso: «Good artists borrow, great artists steal.&raquin the nature of their work. Walker and Guyton described how artists like Cady Noland, Andy Warhol, Marcel Duchamp and Richard Prince opened doors for other artists like themselves to walk through. The Rubells had never heard that opinion expressed as honestly before.  This show was borne out of those conversations, and its title comes from a quote attributed to Picasso: «Good artists borrow, great artists steal.»

Shows have included Cerreality by Connecticut artist John O'Donnell, featuring sculptures created with brightly colored cereal; Pomp and Plastic Things by Georgia artist Justin Hodges that included a green chromogenic living room; Reasonably Nice Things, installations based on the notion of home by Dayton artist Charmaine Renee; group shows like Self As Subject and Trompe L'Oeil: Paintings in Other Media featuring national artists; and Future Thinking, a collaboration between UD and Wright State art studShows have included Cerreality by Connecticut artist John O'Donnell, featuring sculptures created with brightly colored cereal; Pomp and Plastic Things by Georgia artist Justin Hodges that included a green chromogenic living room; Reasonably Nice Things, installations based on the notion of home by Dayton artist Charmaine Renee; group shows like Self As Subject and Trompe L'Oeil: Paintings in Other Media featuring national artists; and Future Thinking, a collaboration between UD and Wright State art studshows like Self As Subject and Trompe L'Oeil: Paintings in Other Media featuring national artists; and Future Thinking, a collaboration between UD and Wright State art students.

In a group show that closed Tuesday, monochrome works by Fontana, the minimalist Enrico Castellani and others were set against work by non-Italian artists like Anish Kapoor and Laurent Grasso.

Like the other two artists in the show, she has two distinct bodies of work, and yet the border between them is slippery.

And not just with the diligent staff; Pace artists must look at this show (and others at Pace, like the recent Raqib Shaw double exhibition), wonder what is going on in their gallery, and dream of leaving.

But as late as 1981, when Arneson was shown with five other like - minded California ceramic sculptors in the Whitney Museum exhibition, Ceramic Sculpture: Six Artists, there was a backlash, with New York Times art critic Hilton Kramer singling out Arneson as dominated, «by a gruesome combination of bluster, facetiousness and exhibitionism — plac [ing] a fatal limit on what his gifts allow him to accomplish, or even to conceive.

It's hard for me to know how they influenced my work, but I know that it hasn't been conscious — in part because these artists weren't getting big features like Richard Serra or other white artists who were having major shows and retrospectives.

Materials and objects like shoes, bones, oxygen cylinders, silicone, amongst others, constitute a formal point of departure for the show, in an artistic practice marked by the usage of things from the artist's immediate surroundings.

I had my first solo show last year and am now looking to move to London to meet more like - minded creatives, collaborate with other artists and put on exhibitions in a culturally vibrant and energetic city.

In the late 1920s, Gottlieb began to show his paintings at the Opportunity Gallery, along with other young artists like Milton Avery and Mark Rothko.

2008 Never let the truth get in the way of a good story, Site Gallery, Sheffield, UK A Recent History of Drawing & Writing, ICA, London, UK Playtime, Betonsalon, Paris, FR Panorámica ciclo de video, Bailando sin salir de casa, Museo Tamayo arte contemporáneo, Bosque de Chapultepec, Mexico, MX Wouldn't it be nice, Somerset House, London, UK Out of sight, Proyectos Monclova, Mexico, MX AWOL — Biennale of Young Artists, META Cultural Foundation, Bucharest, RO Wouldn't it be nice, Centre d'art Contemporain, Zurich, CHSelf Storage, Curatorial Industries, San Francisco, US I desired what you were, I need what you are, Galleria Maze, Torino, IT Within the big Structure, Megastructure, Berlin - Mitte, Berlin, DE Delirious Beijing, PKM Gallery, Beijing, CN Life on Mars, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh, US Revolutions — forms that turn, 16th Biennale of Sydney, AU As it presents itself, Whitstable Biennale, Whitstable, UK Featuring, Galerie Chez Valentin, Paris, FR The flight of the Dodo, Project Arts Centre, Dublin, IE One of these things is not like other things, Unosunove Gallery, Rome, IT Art Now Curate, Tate Modern, London, UK Inaugural Show, Marz Galleria, Lisbon.

Now in its 4th edition of the exhibit, it is dedicated to showing work of artists who identify as being of African decent to explore the infinite expressions of Afrofuturism, Black speculative fiction, Afro - Surrealism and other expansive themes like Black identity, culture and existence in the future, real or imagined.

Given the fact that he hasn't shown any substantial amount of work in the States for about two decades — aside from a few group shows, art fairs, and his inclusion in the famously identity - politics - focused 1993 Whitney Biennial, where he showed a series of weapon - like wall sculptures (dealing with notions of surveillance, the police state, militarization) that were pieced together with vintage gun parts, carved branches, and coyote bone among other sundry items — «At the Center of the World» was a rare treat for countless artists, curators, and critics who could only follow Durham from afar while his work continually appeared abroad at august venues like the Venice Biennale, Documenta, and galleries and museums across Europe and Latin America.

V1 Gallery in Denmark celebrates its 10th year with Tonight We Won't Be Bored; a massive show of 100 new works by artists like André, Kenny Scharff, Futura, Faile, Lydia Fong (aka Barry McGee), Barbara Kruger, Shepard Fairey, Steve Powers, Todd James, Andrew Schoultz, Thomas Campbell, Erik Parker, André, Neckface, Eine, Wes Lang, Clayton Brothers, and many others.

Plans are in motion for a retrospective of Faith Ringgold, an exhibition of 20th century painting, including Lee Bontecou, Hilma af Klint, Lee Krasner, Agnes Martin and others, and an expansive show of female photographers from Julia Margaret Cameron to contemporary artists like Rineke Dijkstra.

Other films include Claes Oldenburg in his studio, lovingly inspecting his eclectic knick - knack collection and dusting them with a paintbrush; the poet Michael Hamburger showing the rare apples he has grown in his Suffolk orchard - including those that originated from his friend Ted Hughes; and the artist Mario Merz, who sits in a garden like an ancient deity, holding a pine cone and accompanied by the sound of chirruping cicadas.

Olga has had numerous solo museum exhibitions throughout the world, including in Belgium, Germany, France, United Kingdom, Spain, Italy, Hungary, Netherlands, Norway, Sweden and Finland and has shown with American favorites like Tony Oursler and Cindy Sherman at the Tate Modern, as well as countless other well known international artists.

Other journals, magazines, and blogs focused on individual artists like Taryn Simon (Telegraph), Zanele Muholi (Huffington Post), Mladen Stilinović (Pittsburgh Tribune - Review), Zoe Strauss in Artforum and in the Pittsburgh Post-Gazette, Transformazium's Art Lending Collection, Ei Arakawa / Henning Bohl's interview, John Kane (prominently shown in the Carnegie Museum of Art's collection reinstallation), Henry Taylor, and Dinh Q. Lê.

Unlike other museum - quality shows that occur in commercial spaces, usually of a single famous artist like the Francis Bacon triptych show at Gagosian (www.gagosian.com), Victoria Miro has allowed Grayson Perry to organise a show of artifacts — not art works — from the Victorian period intermingled with his own ceramic sculptures.

I showed my work rather privately, in an incubator with other women artists like Julia Heyward, Joan Jonas, Dara Birnbaum.

Clint Eastwood with his eyes scratched out, semi-naked men frolicking humorously, the artist posing like James Bond in her studio with «walkies» scrawled over her face — not to mention installation views of other artists» shows — all overlap each other.

But here's the problem with Eve at Subliminal Projects, and other shows like it: in attempt to trace a trajectory, it includes work by younger female artists, who, perhaps with the exception of politically pointed Ayanah Moor, clearly do not belong to the same gang.

Yet despite this apparent nihilism, Chasson's work, like those of the other artists in the show, is underscored with humour and fun and by investing in these visual paradoxes, we as audience are ultimately investing in the paradox of life.

Works by artists like Lockwood de Forest, Dan Lutz, and John Nava, among many others, are featured in the show — on display now through October 2 at Sullivan Goss, 7 East Anapamu Street.

Like several other shows from the early 1990s, including Jeffrey Deitch's Post Human (1992), Kelley's experiment took its cue from the rise of «mannequin art,» a term he coined to describe artists like Charles Ray, Kiki Smith, and Jonathan Borofsky, whose life - size sculptures — not, in fact, all mannequins — evoked anxieties about the role of the human body in a time wrought by the AIDS epidemic, the growth of plastic surgery procedures, and advances in biotechnolLike several other shows from the early 1990s, including Jeffrey Deitch's Post Human (1992), Kelley's experiment took its cue from the rise of «mannequin art,» a term he coined to describe artists like Charles Ray, Kiki Smith, and Jonathan Borofsky, whose life - size sculptures — not, in fact, all mannequins — evoked anxieties about the role of the human body in a time wrought by the AIDS epidemic, the growth of plastic surgery procedures, and advances in biotechnollike Charles Ray, Kiki Smith, and Jonathan Borofsky, whose life - size sculptures — not, in fact, all mannequins — evoked anxieties about the role of the human body in a time wrought by the AIDS epidemic, the growth of plastic surgery procedures, and advances in biotechnology.

But first I went to see the other person, the curator Gerhard Storck, and he said, «Yeah okay, I like it too, and I have an idea for a group show with young artists and you are in.

«Tim Bavington's intense fields of psychedelically colored stripes, on view in his upcoming show at Bentley Gallery, might not appear at first glance to relate to music, but underpinning these paintings is the artist's experience of popular music by the likes of the Rolling Stones, Oasis, The Who, Jimi Hendrix, and Neil Young, among other rock icons.

Through her collaborations with visual artists (including Arthur Jafa, Shani Crowe, Mickalene Thomas, and Rashaad Newsome); her engagement with the work of other talents like Lynette Yiadom - Boakye, who inspired the aesthetics of A Seat at the Table; and her push into some of the art world's most revered spaces (her digital artwork, Seventy States, was shown at the Tate Modern in response to its «Soul of a Nation» exhibition this year), Solange has emerged as a cross-disciplinary artist who is committed to pushing her practice into exhilarating new realms and breaking down the barrier between art and popular culture.