Sentences with phrase «art production line»

With Studio Practice, the Swedish artist transforms the gallery space into a live art production line, with four assistants working full - time to produce work inspired by Lund's 300 - page book of guidelines.

As part of al fresco's on - going focus on product quality and safety, we installed a new state - of - the art production line for our fully cooked all natural chicken sausage line in spring 2011.

In order to meet the continued and growing demand for the 90 + SKUs we produce at our Bakersfield plant, we've invested significantly in two new state - of - the - art production lines and have tripled our capacity,» said Greg Steltenpohl, CEO of Califia Farms.

Not exact matches

«We tripled our production of cherries because we have a state - of - the - art cherry line that we were operating only at 25 to 30 percent capacity,» he says.

The facility features state - of - art equipment, a demo kitchen, work space areas and a small - scale production line.

Mondelez International opened a new state - of - art chocolate production line in its Skarbimierz facility in September 2015.

Kri Kri's new state - of - the - art production and packing line was borne out of an initial catastrophe when a fire on Christmas Eve 2013 caused severe damage to its dairy production plant.

The company made room for its soaring demand by expanding its Bakersfield plant to bring on two production lines in the new 100 - thousand - square - feet, state - of - the - art facility.

Known as NDtech, the state - of - the - art system further strengthens Amorim's quality control measures by screening individual cork stoppers on the production line to eliminate the risk of any natural whole cork contaminated with releasable TCA reaching winemakers.

Our cakes are made and packed to international standards via a fully automated production line, featuring a state - of - the - art «clean room» facility.

Camera (color, widescreen, HD), Mac Fisken; editor, Valerie Krulfeifer; music, Giona Ostinelli; music supervisors, Timothy Bickford, Mandi Collier; production designer, Angel Herrera; art director, Priscilla Watson; set decorator, Carl Turner; costume designer, Lauren Howard; sound, Nathan Whitcomb; re-recording mixer, Shawn Duffy; visual effects supervisor, Joel Hebner; stunt coordinator, Hebner; line producer, Moana Sherrill; associate producer, Fadi Saab; assistant director, Adam Werth; casting, Lindsey Weissmueller.

Camera (color), Wyatt Garfield; editor, Robert K. Lambert; music, Alexis & Sam; music supervisors, Frankie Pine, Mandi Collier; production designer, Kara Lindstrom; art director, Rosa Palomo; set decorator, Javed Noorullah; costume designer, Ane Crabtree; sound (Dolby Digital), Paul Sorohan; supervising sound editor, Rob Webber; re-recording mixers, Patrick Ciccone, Joel Catalan; visual effects supervisor, Sean Thigpen; visual effects, Wunderfilm, Stargate Studios; special effects coordinator, Bob Shelley; stunt coordinator, Guss Williams; line producer, Gary Guidice; associate producer, Fritzi Horstman; assistant director, Joe Suarez; casting, Vickie Thomas.

Camera (color, Arri Alexa widescreen), Reed Morano; editor, Kate Abernathy; music, Dave Eggar, Chuck Palmer, Amy Lee; production designer, Jorge Barba; art director, Victoria Cuevas; costume designer, Liz Lash; sound (Dolby Digital), Omar Barraza; sound designer / re-recording mixer, Dennis Leonard; visual effects, Outlier Post; stunt coordinator, Massimiliano Ubaldi; line producer, Alex G. Scott; assistant director, Gino Allegro; casting, Samy Burch, Cecilia Maggio.

Camera (color), Andrew Dunn; editor, Paul Machliss; music, Dickon Hinchliffe; music supervisor, Nick Angel; production designer, Dick Lunn; art director, Andrea Matheson; set decorator, Anna Kasabova; costume designer, Suzie Harman; sound, Mitch Low; supervising sound editor, Jeremy Price; re-recording mixer, Nigel Squibbs; visual effects supervisor, Thomas Proctor; visual effects, Double Negative; stunt coordinator, Paul Kennington; line producer, Danny Gulliver; assistant director, Martin Curry; casting, Theo Park.

NEW Sounds from the Cold — interviews with supervising sound editor David Lewis Yewdall and special sound effects designer Alan Howarth NEW Between the Lines — an interview with novelization author Alan Dean Foster Audio Commentary by director John Carpenter and actor Kurt Russell John Carpenter's The Thing: Terror Takes Shape — a documentary on the making of THE THING featuring interviews with John Carpenter, Kurt Russell, special effects make - up designer Rob Bottin, legendary matte artist Albert Whitlock plus members of the cast and crew (80 minutes — SD) Outtakes (5 minutes — SD) Vintage featurettes from the electronic press kit featuring interviews with John Carpenter, Kurt Russell and Rob Bottin (12 minutes — SD) Vintage featurettes — The Making of a Chilling Tale and The Making of THE THING (1982 — 14 minutes — SD) Vintage Product Reel — contains a promotional condensed version of the film with additional footage not in the film (19 minutes — SD) Vintage Behind - the - Scenes footage (2 minutes — SD) Annotated Production Archive — Production Art and Storyboards, Location Scouting, Special Make - up Effects, Post Production (48 minutes — SD) Network TV Broadcast version of THE THING (92 minutes — SD) Teaser Trailer Theatrical Trailers (U.S. and German Trailer) TV spots Radio Spots Still Gallery (behind - the - scenes photos, posters and lobby cards)

Behind The Screens: Panels Master Classes Conversations MVFF38 hosted a total of six panels, which included such luminaries as Ed Arentz, Managing Director Music Box Films; Ira Deutchmann, Founder Fine Line Features; production designer Judy Becker; director Valerie Weiss; Russ CollinsFounder / Director Art House Convergence; producer / writer Komal Minhas; and director Christopher Coppola as well as three master classes, including Bobby Roth: A Director Prepares, a Conversation with Catherine Hardwicke and The Heroine's Journey: Writing and Selling the Female - Driven Screenplay, led by screenwriter Pamela Gray and story consultant Tom Schlesinger.

Camera (color, HD, widescreen), Bridger Nielson; music, Jonathan Snipes; production designers, Ben Spiegelman, Evan Ross Murphy; art director, Alexandra Branger; set decorator, Ben Plunkett; costume designer, Courtney Arthur; sound, Snipes; visual effects, Lit Post; stunt coordinator, T.J. White; line producer, Joel Henry; associate producer, Andrew Schwarz; assistant director, Ryan Miningham; casting, Jeff Olan.

With a little of the nation's aid, the startup built a high - end flagship showroom in Mexico City and a 30,000 - square - foot, state - of - the - art factory located in Querétaro, where cars are assembled in cells — Formula 1 style — not on production lines.

Zexal volume 3 Publisher: Viz Media (Shonen Jump line) Story: Shin Yoshida Art: Naohito Miyoshi Original Concept: Kazuki Takahashi Production Support: Studio Dice

It can be seen and felt in New York galleries, on the walls of major art institutions like the Museum of Modern Art and the New Museum, watching a Trisha Brown performance on Chelsea's High Line, and even viewed on TV — take the HBO production Cinema Verite, about the world's first reality show, An American Famiart institutions like the Museum of Modern Art and the New Museum, watching a Trisha Brown performance on Chelsea's High Line, and even viewed on TV — take the HBO production Cinema Verite, about the world's first reality show, An American FamiArt and the New Museum, watching a Trisha Brown performance on Chelsea's High Line, and even viewed on TV — take the HBO production Cinema Verite, about the world's first reality show, An American Family.

Williams's critically - acclaimed 2014 - 2015 retrospective, The Production Line of Happiness, was exhibited at The Art Institute of Chicago, The Museum of Modern Art in New York, and the Whitechapel Gallery in London.

Has an economic and ethical line been drawn in the sand between the art market, with its appetite for eye - candy, and alternative factions and modes of production, in whatever forms they may take?

Christopher Williams: The Production Line of Happiness, published by Art Institute of Chicago / The Museum of Modern Art / Whitechapel Gallery, 2015

The exhibition presented a group of five walls drawn from prior exhibitions including Christopher Williams: The Production Line of Happiness, the artist's first major museum survey which travelled from The Art Institute of Chicago to The Museum of Modern Art in New York and London's Whitechapel Gallery in 2014 - 2015.

The Production Line of Happiness, the major survey of work by Christopher Williams, travelled from The Art Institute of Chicago to The Museum of Modern Art in New York and London's Whitechapel Gallery in 2014 — 2015.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

Printed in Germany is the second volume in an ambitious series of books developed by Williams in conjunction with his first major museum survey, The Production Line of Happiness, a critically acclaimed exhibition co-organized for 2014 - 2015 by The Art Institute of Chicago with The Museum of Modern Art, New York and Whitechapel Gallery, London.

The repetitive motion of adding these motifs, once serving to counter the ideological aspects of art production, seems to provide through line and color an experience that transcends sensory perception.

Brătescu's work blurs the lines between art and the everyday, enhanced by her focus on the process and production of art and the linking of her upbringing in Communist Romania.

---- Christopher Williams: the Production Line of Happiness runs at the Art Institute of Chicago through May 18, 2014.

«Christopher Williams: The Production Line of Happiness» runs through Nov. 2 at the Museum of Modern Art; 212-708-9400, moma.org.

By being comfortable with the middle — being a mid-sized institution, supporting artists at the emerging and blockbuster levels and everywhere in between, straddling the line between contemporary art gallery and community center — the Art Center has grown into a space of creative production that connects diverse audiences unlike any other in Chicaart gallery and community center — the Art Center has grown into a space of creative production that connects diverse audiences unlike any other in ChicaArt Center has grown into a space of creative production that connects diverse audiences unlike any other in Chicago.

The introductory chapter features an essay by curator Lorenzo Benedetti, whose point of departure is the fine line and particular interaction between production and presentation at the art centre.

In their role as generative archives of contemporary art production, museums can and must comprehend themselves not merely as venues for the collection and presentation of art that already exists, the elements of which might be arbitrarily arranged in line with alternating themes, but also as institutions that play an active role in the production process.

As a new exhibition, Christopher Williams: The Production Line of Happiness, at the Museum of Modern Art in New York suggests, perhaps no artist has done more over the last 30 years to explore the specific «social relations among people» that our image culture and media embody and conceal than the American - born and Düsseldorf - based conceptual artist Christopher Williams (b. 1956).

In conjunction with his retrospective exhibition, Christopher Williams: The Production Line of Happiness, the artist joins Stuart Comer, MoMA's Chief Curator of Media and Performance Art, for a discussion of Williams's longstanding engagement with cinema.

Christopher Williams: The Production Line of Happiness runs until 2 November at Museum of Modern Art in New York.

The Production Line of Happiness brings norm - flouting exhibition design to arts institutions (the academic Art Institute of Chicago, the high - gloss MoMA, and the public Whitechapel Gallery) in an effort to draw attention to the naturalised codes of the white cube.

To explore artistic production and the environment, High Line Art curated a... Read More >

In turn, Auto Italia places itself right at that intersection by blurring the line between art practice and home renovation by landscaping a production space in the Auto Italia site, while hosting events and discussion within it, along with ongoing research «supplemented by refreshments and environmental control selected for productivity».

Lately, Grabner has rediscovered the conceptual photographer Christopher Williams, whose sublimely good - looking works question the conventions of the genre, as can be seen in his first retrospective, «The Production Line of Happiness,» at the Art Institute of Chicago through May 18.

2014 Artist's talk, The University of Ottawa, Canada Artist's talk, Ryerson University, Toronto, Canada Christopher Williams: «The Production Line of Happiness» Live with Mark Fisher, Lynne Tillman, David Hartt and Devin Fore, The Art Institute of Chicago, Chicago, IL, USA Belvedere, by David Hartt with Martine Syms, David Hartt and Jeff Khonsary, LA Art Book Fair @ The Geffen Contemporary at MOCA, Los Angeles, CA, USA

The aesthetic production of German - Icelandic artist Dieter Roth (1930 — 98) features numerous inventive works of art that blur the lines between artistic media as well as poetry, music, and literary works.

High Line Channel 14 Year - round Rotating Program High Line Channel 14 is an outdoor video program that screens art videos, historic works, new productions, and curated series.

Eyeing off the production line of increasingly industrialised creative practices, art collectors and prospectors look «younger» for future favourites, across 46 exhibitors from 21 countries, but mostly major Western art centres dominated by the two «U's — the UK and USA.

Morris, already the museum's boldest curator with the firmest grasp on what was happening and how the art of the next century (this one) would look, ended up with the job of explaining why Burden's Heath Robinson - ish production line never worked.

London - based Dray's self - titled show takes on modes of production, blurring the lines between art, commerce and manufacture.

There has been much healthy art production in many different parts of the country that have been ignored or back - seated by New York — honored in their own communities but inevitably corralled under the term «regional» (which usually means work which doesn't follow the formal Modernist line traced from Paris to New York).

United across all three levels of the museum by the artist's use of «supergraphics» — lengthy text excerpts printed at enormous size on a boldly colored background — The Production Line of Happiness offers 35 years of beautifully made, conceptually rich photography that mines the history of contemporary art and modern political opposition.

Cmelka's practice spans from her early experimental films through photographic reworkings of film stills, ad images, and production shots to her performances — known as «microdramas» — which act as reflexive commentaries on the poles of art and life by blurring the line dividing staging from reality.