Sentences with phrase «still other artists»

Still other artists testify to personal discrimination in the name of national security.

Still other artists were prohibited from exhibiting, like the Belgian artist Jacques Charlier, who proposed a show of «one hundred genitals of artists,» from Jeff Koons (deflated) to Christo (wrapped).

Still other artists remind me of the European neo-expressionist invasions, such as Roberto Clemente.

Meanwhile, still other artists looked back on Malevich's monochrome with paintings that conveyed form only through the shape of the canvas, like Robert Rauschenberg's early 1951 white paintings (which he considered stages for the interplay of ambient light and shadow) and Brice Marden's imposing examples from the 1960s.

Still other artists, though, are putting geometry through its paces much like Stella, including Don Voisine strictly within the rectangle and Angelika Schori on both sides of the picture plane.

Still other artists utilize space in interesting and unexpected ways.

Not exact matches

And yet on the other hand, they still have to pay out royalties to labels and artists to get them on board, which hasn't proven easy so far.

Sometimes I think that if all other evidence for the divine should vanish, I still should have to believe that there is an artist somewhere at the heart of things.

Hinduism, Islam, Buddhism, Shintoism and numerous smaller religions had their beginning on Asian soil and still exert a powerful influence on society To be Christian artist in such a setting means coming to terms with the art forms and images of other religions.

I still value exhibiting in other galleries, and although the art market has changed dramatically over the years with many artists selling their work directly online, people still go to galleries because they can see and experience the work for themselves.

I was so excited to see my favorite artists Rihanna, Pharrell, Beyonce, Kanye, Ed Sheeran, and Sam Smith, amongst many others perform, and I still can't believe I got to go!

The whole film is a lively lesson in music history that should stimulate renewed interest in Native American artists and convince other documentary filmmakers that there is still much more to explore.

Within a very few years, artists like John Carpenter, John Landis, Steven Spielberg, Joe Dante, Rob Bottin, Rick Baker, Sam Raimi, Brian DePalma, Bob Clark, Dan O'Bannon, Sean S. Cunningham, Wes Craven, Tobe Hooper, Stan Winston, Larry Cohen, and on and on and so on, were working in and reinvigorating the horror genre — many under the tutelage of Roger Corman, still others the initial products of formal film school training, almost all the consequence of a particular movie geekism that would lead inevitably to the first rumblings of jokiness and self - referentiality - as - homage that reached its simultaneous pinnacle and nadir with Craven's Scream.

Xiu Xiu: The Sent - Down Girl hasn't always received the same critical respect as the»90s other major films about the Cultural Revolution, in part because it was harmfully assumed that director Joan Chen — who was and still is best known to the Western world for her playing Josie Packard in Twin Peaks — was not a «serious» artist whose work deserved to be considered in the same breath as that of Tian Zhuangzhuang (The Blue Kite) or Zhang Yimou (To Live).

, Hugo and The Artist and The Descendants are at multiple theaters, and you can still find The Iron Lady, The War Horse, Tinker Tailor Soldier Spy and others if you scour the listings.

The symbiote, created by David Michelinie and artists Todd McFarlane and Mick Zeck, was first introduced in print in 1988 and is still a fan favourite villain and has appeared in other Marvel Comics including Iron Man, Deadpool and the Hulk.

Finally, any indie authors still choosing to operate under a half - arsed mentality of, «eh, I'll just publish it through Amazon», will inevitably get pushed to the bottom of the pile as those who are serious about making things work will continue to hike to the top — egged on by readers, peers and other like - minded artists within this incredibly supportive community.

In this piece, Geller tells us: «All other sectors of the industry have consolidated in response to digital disruption — publishers, booksellers, wholesalers and public relations agencies — and yet there are still more than 300 agencies listed in The Writers» & Artists» Yearbook 2015.»

In many ways we're still somewhat of an unknown so that hopefully other independent artists can see this is actually something where I have strong control over it.

This does \ \ \» t mean, however, that the pressure all on their shoulders (they can still contract graphic artists, editors, and other collaborators).

Still, that doesn't mean that other artists, perhaps working in other mediums, won't carry on the beloved anime studio's spirit.

- 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

The implication is continuity, and it is confirmed that artist Yoji Shinkawa and producer Ken Imaizumi are among those who are joining Kojima — but there were many hundreds of other employees at the old KP who are either still with Konami or elsewhere.

A lot of successful artists do leave Da behind, but their footprints are still there for others to follow.

Some works display a nod to Hockney's A Bigger Splash, whilst others incorporate «still life», favoured by artists operating under the pop artist movement.

But I DO know that it takes multiple «touches» for a client to buy an artist's work, and nurturing an ongoing relationship with a collector over time is hands down the BEST way to have a patron for life — somebody who will not only snatch up your work still wet, but happily tell others about it, too.

I have been showcasing my art on Facebook, Google, Twitter, Pinterest, Tumblr, YouTube and other social networks for years, but with little success — I guess the overall amount of artworks and artists on the net is so large, that it has become very difficult to get noticed at all, and even harder to make sales at all... I have changed my artworks and my gallery appearance several times over the years, adjusting to the latest SEO trends, but the big success is still waiting... http://www.artprintsposter.com/

I have responded to a few threads (i didn't miss your point: — RRB --RRB- but am still formulating what i want / can afford re courses etc. i love that it has opened up a new world of possibilities to me and also I know about other successful artists such as Melissa Dinwiddie and have been following her work too.

While some of these artists feel that the grid still expresses the situation best, others argue for a more dislocated experience.

Unlike other artist members of her family, Carolyn Wyeth seldom painted figures, focusing almost exclusively on landscape and still life.

Still, they and others were moving, independently and as a close circle, in much the same directions, directions that younger artists still follow at their pStill, they and others were moving, independently and as a close circle, in much the same directions, directions that younger artists still follow at their pstill follow at their peril.

In a short, circa 1895 unfinished essay on the artists Chardin and Rembrandt, Marcel Proust noted the strange friendship that seems to exist between the objects in Chardin's still lifes, and genera scenes: «As happens when beings and objects have lived together a long time in simplicity, in mutual need and the vague pleasure of each other's company, everything here is amity.»

Hugh the artist who created the Blue Monster created it after talking to people about why the still work at Microsoft when they could make more money and not take so much crap at other places.

The artist became close to a number of other painters, including Barnett Newman, Adolph Gottlieb, and Clyfford Still, all of whom greatly influenced his artistic growth.

Now the Tate, together with three other museums, has mounted the artist's first truly comprehensive survey, spanning nearly five decades to 2004, when Martin died, still painting, at age 92.

Other artists that constitute a paradigm for study include: Chuck Arnoldi, Dennis Ashbaugh, Edward Avedisian, Darby Bannard, Frances Barth, Jake Berthot, Natvar Bhavsar, Frank Bowling, Stanley Boxer, Peter Bradley, James Brooks, David Budd, Jack Bush, Anthony Caro, Alan Cote, David Diao, Laddie Dill, Richard Diebenkorn, Friedel Dzubas, Sherron Francis, Sam Francis, Helen Frankenthaler, Sam Gilliam, Carl Gliko, Michael Goldberg, Robert Goodnough, Adolph Gottlieb, John Griefen, Nancy Graves, Phillip Guston, Allen Hacklin, Hans Hartung, Michael Heizer, Al Held, Howard Hodgkin, Hans Hofmann, Tom Holland, John Hoyland, Ron Janowich, Neil Jenney, Franz Kline, Willem de Kooning, Lee Krasner, Al Loving, Morris Louis, Sylvia Mangold, Joan Mitchell, Ed Moses, Robert Motherwell, Stephen Mueller, Clark Murray, Forrest Myers, Barnett Newman, David Novros, Kenneth Noland, Doug Ohlson, Kenzo Okada, Jules Olitski, I. Rice Pereira, Joel Perlman, Peter Plagens, Jackson Pollock, Joanna Poussette - Dart, Richard Pousette - Dart, David Prentice, Harvey Quaytman, Peter Reginato, Gerhardt Richter, Mark Rothko, Ed Ruda, Kikuo Saito, Sean Scully, John Seery, Alan Shields, David Smith, Joan Snyder, Pierre Soulages, Albert Stadler, Nicolas De Staal, Lawrence Stafford, Theodore Stamos, Pat Steir, Gary Stephan, Clyfford Still, Edwins Strautmanis, Pat Lipsky - Sutton, Mark di Suvero, Bradley Walker Tomlin, John Torreano, Cy Twombly, Esteban Vincente, John Walker, Joyce Weinstein, Jack Whitten, Neil Williams, Thornton Willis, Isaac Witkin, Phillip Wofford, Larry Zox and at least a couple of dozen more.

Still, it was fun to look at them, to catch a glimpse of an image, maybe a fragment of landscape or part of a figure, and guess the artist; or to see the stretcher bars, some of them impressively professional, others clearly makeshift, and read the labels documenting the museums to which the pictures had traveled.

He looked to Beethoven and other influencers as guides on his path to creating something larger than the artist, something that like music is beyond words, because to Still words were burdened with meaning.

In what I consider to be the strongest mainstream of American art, (continuing the powerful tradition that emanated directly from American artists like David Smith, Alexander Calder, Willem de Kooning, Franz Kline, Mark Rothko, Jackson Pollock, Stuart Davis, Edward Hopper, Milton Avery, Marsden Hartley, John Marin, Albert Pinkham Ryder, Clyfford Still, Robert Motherwell, Hans Hofmann, and others), American artists created painting and sculpture that explored and expanded the vocabulary and boundaries of visual expression.

Featuring nearly 100 works by Carla Accardi, Pierre Alechinsky, Karel Appel, Martin Barré, Harry Bertoia, Louise Bourgeois, Alberto Burri, Sam Francis, Grace Hartigan, Asger Jorn, Yves Klein, Franz Kline, Willem de Kooning, Conrad Marca - Relli, Kenzo Okada, Jorge Oteiza, Jackson Pollock, Ad Reinhardt, Pierre Soulages, Clyfford Still, Antoni Tàpies, Jean Tinguely, Cy Twombly, Takeo Yamaguchi and Zao Wou - Ki, among others, this collection - based exhibition and publication explore the affinities and differences between artists working continents apart, in a period of great transition and rapid creative development.

Central to her art is the attempt to integrate sculpture and performance to «find stillness in movement and movement in the still sculpture» to figure out «how they contradict and complement each other» (artist's statement).

A number of paintings from this phase in California — exemplified by PH - 613, 1942 — establish Still's early move into an Abstract Expressionist style well in advance of other artists in New York City.

As Monet, or Still or Rothko — indeed as most other great contemporary artists — Diebenkorn demonstrates that it is possible to construct a universe by exploring a single idea to its frontiers» (T. Albright, quoted by G. Nordland, Richard Diebenkorn, New York, 1987, p. 189).

Along with other research and programming initiatives at CSM, Artists Select aims to uphold the intellectual breadth — ranging from an interest in music and philosophy to literature and history — that Clyfford Still himself maintained.

The masterful process of formal elements separates this artist from the other contemporary still life painters, placing Fish closer to the Impressionist's use of broken color with the aim of building forms.

It is likely that the House's current show, I Still Believe in Miracles, which celebrates 30 years of contemporary art shows at Inverleith House, from 1986 to 2016, is the last of its kind, featuring work from leading artists including Douglas Gordon, Jim Lambie, Richard Wright, Ed Ruscha, Louise Bourgeois and others.

This characterization conjures up a mythic image of the artist as the alienated genius facing the void; coincidentally, similar interpretations have been made of other artists from the untamed, Wild West, namely Pollock and Still.

«As a twenty - first - century African American artist,» he says, «when I look back at Abstract Expressionism, I get the politics, I get the problems, I get the theories, I can read [Still's] manifestos, but I think there are other ways of looking through abstraction.

Clyfford Still and the San Francisco Scene, 1946 — 1950 also includes materials culled from the Clyfford Still Museum Archives, such as Still's teaching materials, photographs, and correspondence related to these and other artists active in San Francisco at this time.

Artists Patrick Henry Bruce, Andrew Dasburg, Maurice Prendergast, Charles Demuth and others were inspired by Cézanne's still - life compositions and variously reflect his affinity for vibrant, contrasting colors, titled table tops, multiple views, and complex structures.