Sentences with phrase «art making at this point»

«We hope that the exhibition provides our audience with an intriguing look at some of the ideas and approaches that distinguish art making at this point of time, in one of world's most significant creative capitals,» stated Ferrer in an exhibition release.

Not exact matches

At this point one can barely make out the faded letters spelling out «postmodernism» on the dusty sign that precariously dangles from a rusty nail above the central mineshaft of academic commentary on the arts.

«New detection technology at the border is going to make the Peace Bridge, the American plaza, the most modern, state - of - the - art land point entry between the United States and Canada,» Higgins said.

Steve Castleton made a great point in our «Getting Your Online Campaign off the Ground» session at the Art of Political Campaigning last week — think of visitors to your website as impulse buyers and design accordingly.

Also at 10:30 a.m., Cuomo will make an announcement at Clinton Community College, Stafford Arts and Technology Center, 136 Clinton Point Drive, Plattsburgh.

«This may be somebody's art project or it may be an attempt at making some type of statement, but at this point it's not clear what that statement is.»

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

One gets the sense that Soderbergh wanted to make a point about the conflict between art and commerce: the energy drink he's shilling ends up harming his car's driver, a renaissance - man motorist enticed out of retirement to take another run at glory.

the school has failed to demonstrate, over the three consecutive year period for which accountability determinations have been made pursuant to this subdivision, at least a 25 point gain in its performance index for the «all students» group in each English language arts and mathematics measure for which the school is held accountable; and / or

The school worked hard to create a strong instructional program for English learners and every single one of the students at Middleville made gains on their English language arts (ELA) tests, with an average score increase of 18 points from 2015 to 2016.

And to debate about the best way to make money while creating art is like putting the horse in front of the cart, or debating about the best mode of transportation when arriving at your destination is really the point.

SC: Although I hadn't already guessed what the audition was for by the time I finished auditioning, I put the pieces together pretty quickly after thinking about concept art and the character sides... and spent the next few weeks dancing between thoughts of, «No way, there's just absolutely no way» and, «BUT IT WOULD MAKE SO MUCH SENSE AT THIS POINT».

Other characters that appear from the second season of the Sword Art Online series will make appearances in Lost Song and may also be playable at some point.

Gamers in the United States are dumb, make no mistake, but at least they're able to grasp the cover art's creativity and subtlety without needing additional color to drive the point home.

We're at a very interesting point in gaming's development as an art form, where we are really digging deep into what makes a game and what doesn't.

With the makers of Metroid Prime behind it I'm sure it'll be in the mix for this year's GOTY but at the moment information is pretty scarce on this game, again the studio has stated that the game is «tried and true action adventure» and they are combining it with «incredible visuals and a unique art style» they have also made a point of saying it will be an emotionally engaging story.

As I read this article it reminded me of how we artists can be quite an emotional lot.Sometimes we have trouble being practical.I certainly have mixed emotions about this subject.On the one hand it is always great to sell a piece of art but on the other five dollars doesn't seem worth the hassle.But the point I think many may have missed is that a five dollar work of art would definately be something you only spend a small amount of time on, like a half hour or less.That's $ 10 an hour to do what you love and isn't that what we're all looking for?My husband who's a bussiness man is always making me look at it that way, in terms of an hourly wage.I know that's not very artistic thinking but it sure does make sence in this materialistic world that we live in.

We help artists make a living from their art, but not everyone is at that point right this minute.

In depriving students and the larger public from seeing her work at the Grey, the artist, who currently lives in Berlin and runs a foundation dedicated to art, philosophy, and yoga, has chosen to make a larger point about marginalization and otherness, themes that have dominated her work throughout her career.

The following few nights at the Roth bar promise to be busy ones — in recent years Les Trois Rois has become a social focal point for Art Basel — which is why Huhn came up with a cocktail that is elegant, but can be made quickly.

And Odbrush, the art world (galleries and museums) might not be considered «the gatekeepers» but if you want to make a place for yourself in that art world you do have to deal with them at some point, for better or worse.

You can learn about websites and about how to sell art online here — but I hope that if you do learn something at The Abundant Artist, I hope you learn that art is your unique selling point, your creativity is your unfair advantage, and that you have the ability to make your passion into something that is more than just a humdrum existence.

Rail: Two years ago, I had a conversation here at Marie Walsh Sharpe open studios with Katy Siegel about her book Since» 45: America and the Making of Contemporary Art, and at one point she talked about the theme ofblack and white, which refers to different things, like the apocalyptic light of Protestant Evangelical ecstasy, the American gothic, the strong sun of the Southwest that creates blinding light and casts deep shadows, and above all the issue of race — the obsession of writers like Melville and Faulkner.

She would like to expose at what point an artwork becomes an actual piece of art and the mechanisms an artist employs to make this process possible.

Faith and Mira would always do well, in my opinion, but their journey was so different from that of David Salle and Eric Fischl, who were their colleagues at Cal - Arts, because theirs was a woman's point of view in the art - making process and that was not something that was really acceptable.

This naming device mocks gendered terms of endearment and ownership, and it points at the patriarchal aspects of art making and of naming things.

The American Office of War Information commissioned Cartier - Bresson to make a documentary about returning French prisoners (La Retour, 1946), which became the focal point of the artist's first solo exhibition at the Museum of Modern Art in 1947.

For collectors and curators alike, there are certain bullet points that make an artist's CV stand out: a degree from a reputable art school, solo shows at hip or prestigious venues, press coverage from respected outlets, participation in international exhibitions, or associations with trendsetting curators.

Lichtenstein is a case in point of Leo Steinberg's observation (made at the Museum of Modern Art's pop art symposium) that: «we have here one characteristic of pop art as a movement or a style: to have pushed subject matter to such prominence that formal or aesthetic considerations are temporarily masked out&raquArt's pop art symposium) that: «we have here one characteristic of pop art as a movement or a style: to have pushed subject matter to such prominence that formal or aesthetic considerations are temporarily masked out&raquart symposium) that: «we have here one characteristic of pop art as a movement or a style: to have pushed subject matter to such prominence that formal or aesthetic considerations are temporarily masked out&raquart as a movement or a style: to have pushed subject matter to such prominence that formal or aesthetic considerations are temporarily masked out».

Presenting early film footage together with souvenirs created by the artist and workshop participants from Ousedale School and Milton Keynes Arts Centre, the exhibition serves as a make - shift souvenir shop, designed to encourage a nostalgic look back at the early development of The Point entertainment complex.

These points of view used to quickly analyse these already established artists are just two of the many ways to look not at «Brazilian art» but instead «art made in Brazil».

Kenny Schachter Makes a Very Good Point About Art Fairs: It's a little embarrassing to take anything Jerry Saltz says very seriously but it's a good thing Kenny Schachter did in his defense of art fairs because Schachter brings up an excellent point about what one sees in the booths at the vast majority of fPoint About Art Fairs: It's a little embarrassing to take anything Jerry Saltz says very seriously but it's a good thing Kenny Schachter did in his defense of art fairs because Schachter brings up an excellent point about what one sees in the booths at the vast majority of faiArt Fairs: It's a little embarrassing to take anything Jerry Saltz says very seriously but it's a good thing Kenny Schachter did in his defense of art fairs because Schachter brings up an excellent point about what one sees in the booths at the vast majority of faiart fairs because Schachter brings up an excellent point about what one sees in the booths at the vast majority of fpoint about what one sees in the booths at the vast majority of fairs.

He has pointed to three sources underlying his free use of diverse materials: Josef Albers's students at Black Mountain College making art out of almost anything; John Cage's and Merce Cunningham's open - ended compositional techniques in music and dance; and James Joyce's construction of new words made out of parts of words from many different languages in Finnegans Wake.

While the Los Angeles - based artist has achieved renown for his Modernist - inspired sculptures made using materials ranging from cardboard and wood to steel and concrete — and often rendered in neon colors that would fit right in at an EDM festival — painting has been a central reference point to his work ever since he left his hometown of San Antonio, Texas, to learn under the Chicago Imagists at the School of the Art Institute of Chicago.

He made a conscious decision at that point to stop showing his art for a period in order to understand the work of the Abstract Expressionists, with whom he began to associate.

Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, Pollock redefined the way art gets made at the mid-century point.

Both these art world megastars have — at various points in their careers — scandalized the art world establishment, but they are also connected through their keen interest in the money - making aspect of being an artist.

Nobody at that point in history, even in Britain, thought that there was any art of significance being made in Germany, even less so in Paris, or in Italy.

other artists such as ian wilson, cady noland or charlotte posenenske made the decision at one point to head in a completely new direction: ian wilson instead of continuing to create visually understandable works, only led discussions about art after 1968; charlotte posenenske, who first created work elements, which could be rearranged according to anyone's will, carried this «open way «further by withdrawing completely from artistic productions, studied sociology and worked on social projects.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

The turning point came in 1964, when Rauschenberg became the first American artist to win the Grand Prize at the Venice Biennale — an achievement that stunned the international art community and helped make American art an international status symbol and object of desire.

06.2017 Suffering ², MONA, Tasmania (solo show) 04.2017 The World Made New, PiArts London [commissioned] 03.2017 Casebooks, Ambika P3 London [commission] 10.2016 Suffering, Queenstown, Tasmania [commission] 10.2016 Nowhere Less Now ⁷ Glynn Vivian Gallery, Swansea, Wales, UK [commissioned solo show] 07.2016 Leisure Land Golf, Quad, Derby, UK 06.2016 Seeing Round Corners, Turner Contemporary UK 04.2016 Leisure Land Golf, New Art Exchange, Nottingham, UK 02.2016 Objects Do Things, Ujazdowsky Castle, Centre for Contemporary Art, Poland 03.2016 Stories in the Dark, The Beaney, Whitstable Biennale, UK 05.2015 Leisure Land Golf, Venice Biennale (EM15 commission) 01.2015 Reads Like a Book, Cricoteka, Kraków, Poland 09.2014 Mirrorcity, Hayward Gallery, Southbank Centre, London [new work] 10.2014 Top of the World, Sami Centre for Contemporary Art, Karasjok, Norway 01.2014 For The Record, Birmingham Museum and Art Gallery, UK 09.2013 Entangled ², (Theatre II), Matt's Gallery, London (solo show) 09.2013 Monocular ⁴, Quad, Derby [commission] 08.2013 Narrative Structures, Stryx, Birmingham, UK 06.2013 Nowhere Less Now ², (Red Queen) MONA, Tasmania, Australia [commission] 05.2013 A» Comes First, Toulouse International Art Festival, France [commission] 01.2013 The Book Lovers, EFA Project Space, New York, USA 11.2012 The Book Lovers, MHKA, Antwerp, Begium 11.2012 Reality Bites, Kiasma, Helsinki, Finland 09.2012 Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission solo show] 07.2012 Entangled ², Turner Contemporary, Margate [commission] 06.2012 Focal Points: Art and Photography, Manchester Art Gallery, UK 05.2012 Møte (Meeting), Galleri Festiviteten, Norway 03.2012 Ich is ein Anderer, Kunstverein Freiburg, Germany 02.2012 A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden11.2011 Monodrome, Athens Biennale, Greece 11.2011 Beyond Deception, Erik Steen Gallery, Oslo, Norway 08.2011 Something In The Way, Lofoten International Art Festival, Norway 07.2011 Outrageous Fortunes, Focal Point Gallery, Southend, UK 03.2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show] 03.2011 Dis - covery, Salamanca Art Centre, Tasmania 03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection 03.2011 Just Photography, Ancient and Modern at Martos Gallery, New York, USA 02.2011 It has to be this way ², BALTIC, Gateshead (solo show) 11.2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark 10.2010 It has to be this way ², Mead Gallery, Warwick (solo show) 10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show) 09.

At that point my future plan was to specialize in Old Masters because I thought there was no possibility of making a living with contemporary art.

It took me years to realize I can do things with sound as well as visual art, but at some point, there was no need to make a distinction between the two.»

«These pieces all carry a history of art - making that spans five to ten years,» points out Pfister during a conversation at the gallery, and, in some cases, these references go back further into the past to post-minimalism and reductivism.

At first glance, they seem like a sign of incompletion, as if the artist had aggregated his dots and «sticks» — narrow, rectangular strokes that make up the other significant tool in Forge's kit (as codified in a catalogue essay by psychologist Michael Kubovy for a retrospective held at the Yale Center for British Art in 1996)-- to a point of near - saturation, and then abruptly abandoned the canvaAt first glance, they seem like a sign of incompletion, as if the artist had aggregated his dots and «sticks» — narrow, rectangular strokes that make up the other significant tool in Forge's kit (as codified in a catalogue essay by psychologist Michael Kubovy for a retrospective held at the Yale Center for British Art in 1996)-- to a point of near - saturation, and then abruptly abandoned the canvaat the Yale Center for British Art in 1996)-- to a point of near - saturation, and then abruptly abandoned the canvas.

Photorealists, Exhibit A Gallery, Savannah College of Art and Design, Georgia, October 2 — November 25, 1997 Allegory to the Portrait: Changing Faces, Nassau County Museum of Art, Roslyn Harbor, New York, September 21, 1997 — January 4, 1998 Project Painting, Basilico Fine Arts and Lehmann Maupin, New York, September 11 — October 11, 1997 (Catalogue) Views from Abroad: European Perspectives on American Art 3: American Realities, Whitney Museum of American Art, New York, July 10 — October 5, 1997 (Catalogue) Thirty - Five Years at Crown Point Press: Making Prints, Doing Art, National Gallery of Art, Washington, D.C., June 8 — September 1, 1997.

9:30 AM — NOON Data as Art Medium Chair: Jeff Thompson, University of Nebraska, Lincoln Data and Its Expression George Legrady, University of California, Santa Barbara From Kandinsky to the Database (Point, Line, Plane: Variable, Array, Table) Brian Evans, University of Alabama Web as Index and Archive Penelope Umbrico, Bard College and School of Visual Arts Art that Decodes: Making Sense of Data Process Heidi May, Emily Carr University of Art and Design and University of British Columbia 12:30 PM — 2:00 PM CAA Services to Artists Committee Making a Living as an Artist: With or Without a Gallery Chair: Sharon Louden, Louden Studio Sharon Butler, Eastern Connecticut State University William Carroll, The Elizabeth Foundation for the Arts Peter Drake, New York Academy of Art Ed Winkleman, Winkleman Gallery 2:30 — 5:00 PM CAA Services to Artists Committee Be Our Guest: Time and Space to Create at Artist Residencies Chair: Caitlin Strokosch, Alliance of Artists Communities Kathy Black, Vermont Studio Center Linda Marston - Reid, Bellagio Center Margaret Murphy, Fine Arts Work Center Mario Caro, Res Artis

Another engaging show traced the stylistic turning points in the early career of Donald Baechler (Cheim & Read), while elsewhere, strikingly assured younger painters (Jason Karolak's boldly colored abstractions at McKenzie Fine Art; William Buchina's complexly arrayed figurative works at Garis & Hahn; Alison Hall's historically aware Minimalism at Stephen Harvey) were making their presence felt.

British novelist Hari Kunzu point out, via Twitter, that, «You'd think if he wanted to make a middle brow case for Great British Art he could at least google a couple of others.»