Sentences with phrase «real artists never»

Real artists never stop learning.

Not exact matches

Last year a study found that bumblebees that had never encountered real flowers favored Van Gogh's Sunflowers over the floral works of other well - known artists.

I have shared artists I love in the past, but I've never done a post about the ones who've had a real impact... View Post

It means you never know who is behind this pretty photo: a real beautiful woman or a con artist who downloaded a photo of an unknown model from the Internet.

A look at Jean - Michel Basquiat's life pre-fame, and how New York City, the times, the people and the movements around him formed the artist he became, BOOM FOR REAL weaves the story of Jean - Michel and the city with never before seen works, writings and photographs.

Good though her avatar Margot Robbie is in I, Tonya (helped by stunt actors and special effects artists), the on - ice action of the new movie will never match the thrill of the real thing.

Not a biography by any conventional definition this is a freewheeling Bob Dylan portrait where his name is never spoke, his life and career is represented by six different actors representing various personas, and the songs and stories (real and imagined) and mysteries of the artist are as important as any historical record.

We would never have thought that Nissan would actually chop the top off the Nissan Leaf but what you are seeing here is real and not just some concept that some artist came out with.

«Now, our hope is that artists and technicians are empowered to employ these technologies and techniques to usher in a whole new generation of real - time cinematography that will take interactive entertainment and storytelling to a level of efficiency and quality that has never been achieved before.»

The common argument against game photography is that «it's all set up by the developers and artists» (which was never a valid argument) becomes moot as our virtual worlds become more «real» (not photoreal).

I've spoken to dozens of artists and online gallery owners over the last year who have sold pieces in the $ 500, $ 1000 and $ 2000 range for an original, with the buyer never having seen it in real life before.

I PROMISE NEVER TO MAKE ART AGAIN provides a baptism of necessary real life and allows artists to «Get Real.&rareal life and allows artists to «Get Real.&raReal.»

They never met in real life, but a new exhibit at the Baltimore Museum of Art feels like a conversation between the two artists.

For Bowey, however, the real joy of the RA lies with the «camaraderie and hectic putting together» of the Summer Exhibition, and the opportunity it brings to get to know artists she might never have met otherwise.

These artists operate in the context of accelerated development of information technologies, where the irreversible process of the world's digitization merges the «real» and the «virtual» as never before.

«That is why Damien Hirst will never be a real artist.

How felicitous, then, to find a gallery filled with the work of a real artist, the Spanish born Angela Cruz, whose work has never, I think, received the recognition it deserves.

The latter are younger artists I have known for a while, but never placed in the context of race / culture / identity; and they start to become more real as artists, as if this context makes apparent an important part of their personal history.

1989 Concept - Decoratif (Anti-Formalist Art of the 70s), Nahan Contemporary, New York, US The Presence of Absence: New Installations, Gallery 400, University of Illinois at Chicago, Chicago, Illinois, US; University of Arizona Museum of Art, Tucson, Arizona, US; Laumeire Sculpture Park and Garden, St. Louis, Missouri, US; Albany Institute of History and Art, Albany, New York, US; Oakville Galleries, Oakville, Ontario, CA; University of Kentucky Art Museum, Lexington, Kentucky, US; Longview Museum and Arts Center, Longview, Texas, US; Prichard Art Gallery, University of Idaho, Idaho, US; Museum of Art, Penn State University, University Park, Pennsylvania, US; The University of Iowa Museum of Art, Iowa City, Iowa, US; University Art Museum, University of New Mexico, Albuquerque, MX; Otis / Parsons Gallery, Los Angeles, California, US Words, Tony Shafrazi Gallery, New York, US Inedits / I, FRAC Bourgogne, Dijon, FR; APAC, Centre d'Art Contemporain, Nevers, FR Micro Sculpture, Fine Arts Center, University of Rhode Island, Kingston, Rhode Island, US Early Conceptual Works, Sperone Westwater Gallery, New York, US From Concept to Context, The Art Gallery of York University, Toronto, CA Saga 89, Eric Linard Editions, Grand - Palais, Paris, FR Un Choix dans les Collections du Nouveau Musee de Villeurbanne, Palais de Beaux Arts de Charleroi, Charleroi, BE Collections du Frac Nord Pas - de-Calais, Santa Scolastica, Bari, IT Group Show, San Francisco University Art Department Gallery, A&I Room 201, San Francisco, US Word / Image, Lehman College Art Gallery, Bronx, New York, US Ad Usum Dimorae, Palazzo Querini Stampalia, Venice, IT Bilderstreit, Ludwig Museum, Rheinhallen, Cologne fair grounds, Cologne, DE From the Collection of Dorothy and Herbert Vogel, Terra Museum of American Art, Chicago, Illinois, US Open Mind - Circuit Ferme, Museum van Hedendaagse Kunst, Ghent, BE Ohne Auftrag, Mai 36 Gallery, Art Frankfurt, The New International Art Fair, Frankfurt, DE Magiciens de la Terre, Centre Georges Pompidou and Grande Halle, La Villette, Paris, FR Competition Diomede, The Clocktower Gallery, New York, US; San Francisco State University Art Department Gallery, A&I Room 201, San Francisco, California, US Ideas and Ephemera, Real Art Ways, Hartford, Conneticut, US Geometrie Meridienne, Chateau Coquelle, FRAC Nord Pas - de-Calais, Dunkerque, FR Noise et Fenetres en Vue, Musee d'Art Moderne, Liege, BE Locus Solus XII, Galerie Hubert Winter, Vienna, AT Fondation Daniel Templon, L'Exposition Inaugurale, Capitou, FR Furkart 1989, Furkapasshoehe, CH Analytic to Poetic, Burnett Miller Gallery, Los Angeles, California, US Skulpturen für Krefeld I, Museum Haus Esters, Krefeld, DE John Miller / Gary Mirabelle / Lawrence Weiner, American Fine Arts Co, New York, US In Other Words, Museum am Ostwall, Dortmund, DE Gran Pavese: The Flag Project, Museum van Hedendaagse Kunst, Antwerpen, BE; Druot Montaigne, Paris, FR Another Group Show, Galerie Hubert Winter, Vienna, AT Forum, Stalke Gallery, Hamburg, DE Hier Wird Getanzt, XPO Galerie, Hamburg, DE Group Show, Elizabeth Kaufman, Basel, CH Lineart»89 Gent, Galerie B. Coppens and R. Van De Velde, Flanders Expo, Brussels, BE «Dreams» and Other Works on Paper, Leo Castelli Gallery, New York, US Moscow - Vienna - New York, Wiener Festwochen, Messepalast, Vienna, AT Minimal and Conceptuel, Oeuvres Anciennes, Gabrielle Maubrie, Paris, FR The Library - Artists» Books, A / D, New York, US Hamburg Projekt 1989, Hamburg, DE Einleuchten, Will, Vorstel und Simul in HH, Deichtorhallen, Hamburg, DE Musee d'Art Contemporain Lyon / Werke aus der Sammlung, Stadtische Galerie Goppingen, Goppingen, DE Sculptures de Kabakof, et al, ELAC, Lyon, FR Conceptual Art - Une Perspective, ARC, Paris, FR; Deichtorhallen Hamburg, Hamburg, DE; Fundacio Caixa de Pensions, Madrid, ES Broken Lines, Victoria Miro Gallery, London, UK Bel voor de Laatste Ronde, Art and Project, Amsterdam, NL Die Letzen 22 Jahre, Kunstverein in Hamburg, DE Acchrochage für Tatlin, Stadtische Kunsthalle Dusseldorf, DE

I always expect good work by these artists, but the real surprise is the high level of art by the artists one does not know, may have missed in any of the hundreds and hundreds of Manhattan and Williamsburg galleries, or who may never have shown before.

Working from a variety of source materials, but never from real sitters, the artist is fascinated less by the individuals she depicts than by the mechanics of painting itself — of pigment, tone and composition.

The artist's recent exhibitions include Cinthia Marcelle and Tiago Mata Machado: Divine Violence (Logan Center Exhibitions, University of Chicago, 2017); Education by Stone (MoMA PS1, 2016); At the Risk of the Real (12th Sharjah Biennial, 2015); and Dust Never Sleeps (Secession, Vienna, 2014).

During the 50's, when Abstract Expressionism reigned, Schapiro dragged Barnett Newman and Adolph Gottlieb up to Columbia to speak to a roomful of awed art - history students; they had never seen real live artists before.

But one should never argue with an artist who says «audiences are prompted to contemplate their surroundings and consider the differences between real and artificial horizons.»

from spending the time, money, and most important, sustained effort re proper education requirements (real estate university status, if wannabe's have proper pre-existing pre-qualifying credentials in their possession) just to be part - timers on - the - side who will be unleashed on an unsuspecting public by commission - hungry sales recruiters I know one thing for sure though; the fat cat ORE bureaucrats who live off of the never - ending stream of fees paid by the amateur try - out artists will not agree with the truth of the matter, because they only look out for themselves, no matter what their latest pronouncements to the contrary might suggest.