Not exact matches
... like the wasteoid who trails off mid-sentence to
get lost in the cover
art for Animal Collective's Merriweather Post Pavilion, [Nima] Nourizadeh has trouble concentrating on a single organizing
narrative mode for his film.
It's fun, with great
art and enjoyable characters, but lacks
narrative depth and
gets repetitive.
But for me the dullest and most timid aspect of this year's Oscar list is its almost ignoring Tom Ford's brilliant, ruthlessly provocative thriller Nocturnal Animals, a double -
narrative about an unhappy
art dealer (Amy Adams) who
gets the manuscript of an unpublished novel through the post from her estranged first husband (Jake Gyllenhaal), and the action of this explicit crime thriller is dramatised as she imagines it, with this very ex-husband pictured in the lead.
The
narrative revolves around the
art of a portrait, at the hands of a perpetual perfectionist, thus meaning we have to wait, ages, and ages, and ages, for him to
get it right.
One good thing about this easy - to - use technology is that students can still use important English language
arts skills like writing a
narrative, planning a sequential story, and including key details when
getting ready to make a movie.
It's rare I find myself deeply intrigued by anything having to do with sportsball, but the retro
art style and focus on
narrative storytelling is undeniably endearing and well worth sponsoring if you've
got a few bucks burning a hole in your knickerbocker's pocket.
Infinite Fall's Night in the Woods was nominated three times (Seumas McNally Grand Prize, Excellence in Visual
Art and Excellence in
Narrative), as is
Getting Over It with Bennett Foddy (Seumas McNally Grand Prize, Excellence in Design and Nuovo Award).
Narratives proliferate as
art becomes more global, more inclusive, more layered, and who
gets to tell that story?
How we view these paintings is a challenge to existing
narratives about how
art gets produced.
The interactive nature of the
art makes the overall space and visitors present become part of the creation.The artist
gets rid of the
narrative structure, concrete language or any transferable information belonging to the object to return to a way of seeing more independently, freely.
It's a
narrative that pretty much any young artist would want: arrive at school, start making work,
get noticed by an up - and - coming gallerist, have a roundly loved solo exhibition (or two),
get glowing reviews from important
art critics, sell a lot of
art, buy a big studio and keep working.
Her closest peer is Frank Stella, but while Stella elaborately diagramed the dead end of hardcore formalism — the idea that
art is a sort of Nautilus machine for the eye muscle — Murray heralded painting's desire to
get wet again, roll around in pigment, humor,
narrative and sex.
That 2007 «High Times, Hard Times» show [at the National Academy Museum] was a great revelation to me and a lot of my peers, and
got me thinking about the master
narratives of
art history more, and how much stuff
gets left out by strict ideals.