Sentences with phrase «artist seen this vision»

Not exact matches

Further, how can the artist focus the optics of insight so that others not only see, but see themselves within the vision, so that the world the artist creates becomes the world of the reader?

From one artist's mind to another's: I see the concepts of vision / not vision, policy / not policy, or any concept / the absence of that concept in a way that's similar to the positive space / negative space that makes up visual composition.

Each of these artists offers us a vision that changes how we see by refusing to treat what we see as all that is there.

It was shocking, to some a tragic reversal, to see the great artist of the thought experiment give up on those visions of the real.

I see Wiseau as an artist, and his film as one made from a singular vision however many bad choices it may include.

They really are about, from what I've seen so far, supporting up and coming artists, artists who have a strong vision and voice and perspective, and they really wan na permeate the films with those kinds of voices.

Sometimes the artist isn't a perfect conduit, but he may still have a vision that is worth seeing.

I have rarely seen a movie that so closely resembled the vision of a great artist without degenerating into a series of stills.

While the specific criteria for participation differs across our various programs, for all of our initiatives we are seeking passionate, bold, risk - taking, and creatively rigorous artists compelled to see their vision through to audience.

We see fantastic creativity from Aston Martin enthusiasts on social media - whether it's using our popular Configurator to craft beautiful specifications of our cars, or from talented designers and artists sharing their skills and vision for the future.

Seen here is our artist, Shoeb's rendering of the production version of the Land Rover Discovery Vision Concept, which is announced

In this behind the scenes look at the game, the audience will learn how Concept Artists and Environment Artists work hand in hand to create the places your heroes explore in search of action and glory, with the opportunity to see some of the earliest visions of the worlds you've come to know.

Game designers bring their ideas to this industry, working with programmers and artists in a studio to see their vision come to life.

Russeth writes: «With each artist featured in a separate room, it's easy to see their three distinct visions clearly.

Publishing on the Web is good for an artist's creative vision, as it allows him or her to «hear instant feedback from readers, meet and collaborate with other artists, disseminate their work and see their creative visions through to the end,» says Sarra Scherb, curator of «Morning Serial: Webcomics Come to the Table,» a current exhibition at Seattle's Henry Art Gallery (www.henryart.org).

@CoryHuff Not necessarily «easy» — and I do believe Kiva works with artists, too (so I / we could ask how they do it)-- but I wonder if the beginning could look like this: a trip (by you or you and Melissa) to a country / town / village that is having a well dug through the water charity project — with eyes to see what the art of the area is, who the artists are — very face to face... I like the idea of broadening the vision and helping others.

In the same way, modern day artists are often seen as having a vision that others don't have.

If the political despair of post-Second World War and McCarthy - era artists, such as de Kooning, Passloff, and Resnick, generated an inward looking, psychologically inflected humanist vision, the post-Vietnam generation had seen the groundbreaking gains and political optimism of the civil rights, feminist, indigenous, and gay rights movements.

Artists are generally visually oriented, and people want to see that the artist has vision.

«In night vision, first you see darkness,» the artist says.

Across the range of works presented in Night Vision, visitors will see how reduced visual information and an altered perception in the dark tested artists» ability to render shadow, light, and form.

But it can also be a spark, or a kind of code - breaker, as we see often in the «Artist's Project» and in the Met Breuer's intimate pairings: Willem de Kooning and Maria Lassnig, El Greco and Thomas Hart Benton (an association made only in writing, on the label for El Greco's monumental, roiling The Vision of St. John, but nonetheless a relevatory one).

«We look forward to introducing both local and national audiences to rarely seen works of art, and to a distinct vision of nature developed by medieval artists in Western Europe, which still resonates today.»

This contemporary Iranian artist has graduated to a whole new format in her work and we now see her embrace a scale that allows for a more expansive dialogue with the artist and her vision.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

And although [as an artist] you may see a realistic subject like a glass or table or chair, you have to... transform that into a picture, and my whole feeling is that to get the spectator involved, [art] has to extend his vision, not... verify that which he already knows, but extend his vision and his way of seeing so that there is a wider experience open... to him, and this is the way I work.»

The artist who made the drawing, seeing all this, would say Paul's action was fine because it's Paul: «I know Paul respects my work, and he has an artistic vision, and I'm fine with that.»

The four paintings here that make up a specific aspect of Jenkins» contemplative vision can not be called empty oratory; instead, their tenacious pursuit of the artist's vision should be read as a challenge to us all: to see with more than our actual eyes.»

And we see the artist's vision of civilization expanding as he inflects the surface of the canvas with the calligraphic marks of his Tea House series, a reflection of his long - standing interest in Asian art.

But, unlike Schnabel's vision, Sullivan's BIG GIRLS can clearly see — her acknowledgement of her maturity as an artist and the need to step up to the plate after the death of her mother last year.

The market for Arte Povera has grown steadily since 2003, although a breakthrough moment came in February 2014 with Eyes Wide Open: An Italian Vision, an auction at Christie's in London of the biggest collection of Arte Povera works ever brought to market which saw fifteen artist records set in a single night.

Although the great outdoors is framed and edited through the artist's vision, uultimately what we choose to see is up to us.

Entitled America is Hard to See, taken from a Robert Frost poem, it «examines the themes, ideas, beliefs, visions, and passions that have preoccupied and galvanized American artists over the past one hundred and fifteen years.»

I mean, I'd hate to see everyone start acting more or less the director of a mega-gallery, where it's no longer about the dealer's vision — like with a Paula Cooper or a Marian Goodman — but instead about the visions of the artists they're selling, and moving product.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

It might be seen as a reiteration of the traditional gallery format, but, similar to what each participating artist has done with Warhol's vision in his or her use of the Polaroid's dimensions, there is an important conceptual twist to it.

The exhibition title, Optasia, is Greek for «vision or apparition» and the artist, in the gallery's press release, credits it with capturing «the sense of what I see in fleeting moments of the reflections I photograph.»

Fowler's larger project to revive radical history in his baggy compilations of archive footage is extremely original, and timely — and if the prize is about an artist's overall vision I can see him winning and I feel OK about that.

He came to believe that the industry of exhibiting art was not to the ultimate benefit of the artist's vision, and that to be seen properly it should be installed permanently to the wishes of the artist.4 Eventually he tired of New York and started looking for less constricting spaces in which to settle and work.

On a typical Torpedo Factory day, you'll see painters, potters, and metalworkers bringing vivid visions to life — but our associate artists who've moved far from Alexandria are hard at work as well.

Renowned for his global aesthetic and unique painterly vision, you can see Francesco Clemente discussing his influences and artistic style in Bloomberg's «Brilliant Ideas»; which looks at the most exciting and acclaimed contemporary artists at work today.

Courtauld Gallery, London All - seeing eyes and cosmic visions dazzle in the abstract art of a woman who claimed her hand was guided by the dead, from holy saints to famous male artists

Peggy Meckling, «Homage to the Sunbird» (collagraph) On a typical Torpedo Factory day, you'll see painters, potters, and metalworkers bringing vivid visions to life — but our associate artists who've moved far from Alexandria are hard at work as well.

This ranges from the sheer exuberance of Michael Landy's installation of a costermonger flower stall loaded with fresh flowers, to the monochrome, dystopian vision of American artist Banks Violette, whose work has rarely been seen in the UK.

We will look at artists whose vision has been clearly shaped by an awareness that what we see is conditioned by who we are, and that our sexuality and personal histories play significant roles in the forming of our artistic statements.

Through April, she and Sigethy invite visitors to plumb their piscatory visions — and ponder how artists who work in contrasting media can see things in distinctive but equally wonderful ways.

Looking back, in 1970 the artist explained, «Vision at that time, for me, was assumed flatter, and what was seen, taken as a plane surface, like a film, mirror, or newspaper.

, Tony Shafrazi Gallery, New York, US Intervention / Decoration, Foreground Projects, Frome, Somerset, UK Ambition d'Art, Institute d'Art Contemporain, Villeurbanne - Lyon, FR Redone, Kröller - Müller Museum, Otterlo, NL A Bookcase for Onestar Press by Lawrence Weiner, Christophe Daviet - Thery, Paris, FR Mes Amis, Dvir Gallery, Tel Aviv, IL Reconstruction # 3: Artists» Playground, Sudeley Castle, Winchcombe, Gloucestershire, UK Advancing the Experience: Robert Ryman & Urs Raussmüller, Hallen für Neue Kunst, Schaffhausen, CH Art Basel, Kino Mascotte, Basel, CH Cul - de-sac, curated by Lino Polrgato, Small Dead End Courts Around Venice, IT 2008: FREEDOM - American Sculpture, curated by Marie Jeanne de Rooij, Stichting Den Haag Sculptuur, Den Haag, NL Revolutions - Forms That Turn, Biennale of Sydney, Museum of Contemporary Art, Sydney, AU Slow Glass, Lisa Cooley, New York, US Thoughts On Democracy: Reinterpreting Norman Rockwell's «Four Freedoms» Poster, The Wolfsonian, Florida International University, Miami, Florida, US artCRUSH, Aspen Art Museum, Colorado, US NOLEFTOVERS, Kunsthalle Bern, CH Translocomotion 7th Shanghai Biennale, curated by Julian Heynan, Henk Slager, Shanghai, CN German Angst, Neuer Berliner Kunstverein, Berlin, DE TEXT drawings, Leo Castelli Gallery, New York, UK Drawings on Graph Paper, Leslie Tonkonow Artworks + Projects, New York, US Pleinairism, curated by Kitty Scott, i8 Gallery, Reykjavik, IS Une Grosse Caisse dans un Orchestre Symphonique, Center d'art Contemporain, Saint Restitut, FR Variation 1, Wiener Konzerthaus, Vienna, AT Wall Rockets: Contemporary Art Artists and Ed Ruscha, curated by Lisa Dennison, The FLAG Art Foundation, New York, US; Albright - Knox Art Gallery, Buffalo, New York, US XX, CAG, Vancouver, CA Wall Works, Buchmann Galerie, Lugano, CH ABC No Rio 2008 Gala & Benefit Auction, Angel Orensanz Foundation for the Arts, New York, US The Panza Collection, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, US 2 x -LSB-(2 x 20) + (2 x 2)-RSB- + 2 = XX (DESPERATELY) TRYING TO FIGURE OUT THE WORLD, curated by Konrad Bitterli, Part I, Mai 36 Galerie, Zurich, CH, Part II, Brook Alexander Gallery, New York, US Collected Visions Modern and Contemporary Works from the JP Morgan Chase Art Collection, Pera Museum, Istanbul, TR This is the Gallery and the Gallery is Many Things, Eastside Projects, Birmingham, UK Love Love Love, Martos Gallery, New York, US Whatever Happened to Sex in Scandinavia, curated by Marta Kuzma, Office for Contemporary Art Norway, Oslo, NO Passage To The North, screening SI Annual Benefit, Swiss Institute, New York, US Posesion, curated by Montserrat and Pablo Sigg, Petra, Mexico City, MX Now You See It, Aspen Art Museum, Colorado, US Order.

«Night Vision: Nocturnes in American Art, 1860 - 1960» chronicles the ways that American artists painted and saw the night at a time when electricity was changing what the evening sky looked like.

According to the artist, his work is a «hand - eye parasite that grows and grows», likening it to «The Aristocrats» joke comedians only tell to fellow professionals whose aim is not the punch - line but a middle so filthy it can barely be told; to the visions experienced in the comedown of a trip when one's eyes and synapses see multiple realities; and to puzzles to which there are no wrong answers only a myriad of solutions.