Sentences with phrase «art assets coming»

You can check out some of the other posters below to see where which art asset came from - and work out what they did with them - in the poster gallery below.

Not exact matches

During the 15-1/2 - month bankruptcy process, the city's historic collection at the Detroit Institute of Arts (DIA) came into play as a potential pot of assets to satisfy creditors.

The tax breaks were due to come into force as part of the raft of «A-Day» reforms next April, and would have enabled savers to add properties and assets such as art collections worth up to # 215,000 to a Sipps - they would then receive a full tax rebate on their initial purchase.

Shu Qi plays his star, a woman who comes to learn that she in fact has more to offer to art than her physical assets.

Alice 3.0, a popular object - oriented, Java - based computer - programming environment created by Carnegie Mellon University researchers, is coming soon, and it will provide essential arts assets from The Sims, the best - selling PC video game of all time.

«People want better and better graphics, they want more realistic art assets and that comes at a cost, and that's a hard thing to have to deal with.»

BattleTech is absolutely gorgeous, and that comes as a combination of the wonderful art assets of Harebrained Schemes, and a partnership with Piranha Games, who provided the Mech assets from their online title, MechWarrior Online.

There is a push - pull in the art market where value often comes from works of art trading with exceptional infrequency even as the fact of repeated sales of art in general and an artist's work or even a specific work, in particular, gives buyers greater confidence in art as a store of value (or an asset class.)

We're tough around here, and we can take it if someone's talking behind our backs: Hilton Kramer, testy art critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?&raqart critic for the New York Observer, came to San Francisco on «other business,» he writes, but managed to stop in at the Museum of Modern Art, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?&raqArt, where he glanced at the Gerhard Richter show (which he'd «already suffered through at MoMA in New York») and looked both at the permanent collection (early Matisses «remain, in my opinion, SFMOMA's principal aesthetic asset») and the Ellsworth Kelly exhibition («What could be more personal than the persistent, unvarying project of self - abnegation on a monumental scale that we observe in his own most ambitious abstractions?»