Sentences with phrase «artistic approach on»

The success of the first film evidently went to the head of Steven Soderbergh as he decided to step out from conventional filmmaking to go for a more artistic approach on OCEANS 12.

Not exact matches

In the emphasis on a display's context, and the need for a «cultural, artistic, or festive,» as opposed to religious, meaning, the Conseil's rulings closely track the American approach.

Waldorf education is based on a profound understanding of human development that transforms teaching into an artistic and health - giving approach to education.

Developed by Rudolf Steiner, Waldorf education is based on a profound understanding of human development that transforms teaching into an artistic and health - giving approach to education.

What artistic liberties does this approach provide as compared to doing a biographical movie on the life of Robert F. Kennedy?

At first, the cast that includes Bryan Cranston, Aaron Taylor - Johnson, Elizabeth Olsen, Ken Watanabe had my interested piqued but it was really the uncharacteristically artistic approach seen in the posters and the excellent first teaser trailer that has me debuting this potential blockbuster so highly on this list.

Nonetheless, The Red Turtle deserves to be seen, not merely to check off a box on your Oscar viewing list, but to appreciate for a different artistic approach to a medium whose vast possibilities are too rarely explored.

We are providing a 21st century approach to its observance not just by recharging memory, but through an artistic reflection with a balanced affirmation of Hispanic heritage and indigenous traditions for collaborative new routes of expression from ancestral roots focused on the concerns of UNESCO: Cultural Rapprochement, Biodiversity, Ocean Care and Seafaring, Climate Change mitigation through sustainable energy, reforestation, gender equity and health issues.

The school is recognized for innovative educational, technological, and artistic programs including the International Baccalaureate Diploma Programme, the Mid-Pacific Exploratory Program (a project - based approach to learning), the acclaimed Mid-Pacific School of the Arts, an English Language Development program for the international students on campus, and a cutting - edge Immersive Technology Program.

An artistic approach, an eye to detail, high levels of functionality and onboard technology aplenty land the Camry on the 2018 Wards 10 Best Interiors list.

An artistic approach, keen attention to detail, high degrees of functionality and onboard technology aplenty land the Toyota Camry on the 2018 Wards 10 Best Interiors list.

Publishing, whether traditionally or DIY, is a business decision, not an artistic or political statement — it needs to be approached with a rational head; an understanding of the pros and cons; and a clear definition of what «success» means based on your own goals.

Wanting to help Taizo with his artistic block, Shino takes a hands - on approach with Taizo's rock - hard body.

Taking an extremely hands on approach, I was responsible for overseeing the overall artistic vision and creative direction of all cinematic storytelling (including pre-visualisation, camera work, lighting and storyboard development) and in - game set - pieces from initial concept to shipped title.

,» which approached that question with incisive and nuanced analysis, demonstrating how, for centuries, institutional and societal structures had made it «impossible for women to achieve artistic excellence, or success, on the same footing as men, no matter what the potency of their so - called talent, or genius.»

As Miller explains on his website: «The goals of this project are to preserve and portray these abandoned sites through photography that surpasses the official government approach to documentation, and to lend some social, historic, and artistic insight to the subject.

Rather than pose a definitive historical trajectory, the exhibition embraces a ruminative and introspective approach, winding through time and place to touch on situations and themes ranging from the sociopolitical to the deeply personal, all through the lens of artistic observation.

The exhibition brings together a selection of nine paintings on monochrome stone (slate and white marble) by Italian painters such as Sebastiano del Piombo, Titian, Daniele da Volterra and Leandro Bassano, which reflect the consolidation of a new approach to artistic techniques that emerged in the early decades of the 16th century.

The exhibition presents around 50 artistic approaches, illustrating the network of links between journalism and art, and the ways in which artists draw on media for their creative production.

Yet her uncompromising approach gave rise to a unique and highly individualistic body of work that continues to exert an influence on contemporary artistic production.

This exhibition, which is on view parallel with the survey of Tino Sehgal, captures another level of what we consider «live» and represents the artistic approach of new director Beatrix Ruf for the Stedelijk to ask questions about contemporaneity through exhibitions and displays of artistic visions.

revealing three different artistic approaches that arrive at similar conclusions on colour, shape, materials and meaning.

All were unique and distinctly reflecting the wide variety of artistic approaches of the 21stcentury from paintings on canvas & board (Kawaguchi, Sudran, & Dorsey) to the mixed media work of Mielenhausen & Dworin, the installation by Kubo that filled gallery walls, to the photographs of Moody, Smith and Gaynor and the colored pencil drawings of Borkow.

Essays take a range of approaches, drawing on personal recollections of artistic collaborations and friendships; focusing on individual objects, groups of works, or Conner's materials and process; or contemplating and interpreting the artist's inimitable and ever - changing methods through a thematic lens.

Her artistic practice and pedagogical bent — she is an esteemed professor of painting at the School of the Art Institute of Chicago, a position from which she weilds considerable influence in the city's art scene — has shaped her presentation on the fourth floor of the Whitney, which she has organized as a sort of visual curriculum on various artistic processes and approaches to materials.

The huge range of practices on display demonstrates the variety of artistic approaches being developed across the world.

The choice in title also attempts to suggest a conceptual curatorial style on the part of Gouzer, or an experimental irreverence toward his function at the auction house — an approach gleaned, we can imagine, as a winning stance from some of the artistic careers listed above.

The artists will examine Lam's artistic legacy through works that explore their own personal reflections on the artist's involvement with the Surrealist and Négritude movements, his fusion of African - inspired imagery with that of the natural world, and the influence of the Santeria religion on Lam's artistic approach.

Artist talks, lectures and guided tours intensify and expand on selected exhibition content and artistic approaches of the exhibitions, which have been curated and compiled in collaboration with museums, art collections, archives, and galleries worldwide.

I knew early on that my personality wouldn't last long in the classical realism style and what I really wanted was to loosen up my artistic approach.

A movement that arose in the 1960s and»70s and has since expanded in definition to describe a general philosophical approach to making art, Process Art places its emphasis on the process and act of artistic creation rather than the actual finished work that comes out of it.

Showcasing Mel Chin's malleable and wide - ranging approaches to his artistic practices, the pieces on view were drawn from nearly four decades of his career alongside four newly commissioned projects: «Flint Fit,» «Soundtrack,» «Unmoored» and «Wake.»

«White Noise I» approaches contemporary modes of artistic production more directly: Noa Gur uses her face as a stamp, as a printing machine to produce a series of quasi-portraits on paper towels.

[2][3][7] As extremes in a possible spectrum, [13] while some favour simply remarking on the immediate impressions caused by an artistic object, [2][3] others prefer a more systematic approach calling on technical knowledge, favoured aesthetic theory and the known sociocultural context the artist is immersed in to discern their intent.

Through this alteration in artistic approach, Djurdjevic distinctively focuses on an active reflection of order and tensions of our everyday spaces of existence.

These movies expand on many of the themes of her visual art and interactive projects, playfully upending cinematic traditions with artistic approaches rooted in cutting - edge technology and feminist activism and theory.

The works on view in 2016 — 2017 explore key themes, movements, and artistic approaches in European art.

The Works presents a variety of Chicagoan approaches to this discourse: Marissa Lee Benedict & David Rueter, Theaster Gates, and Dan Peterman contextualize their multidisciplinary practices within a wider scope of research and activism, reflecting first and foremost on artistic production as a vehicle for ecological and social reflection.

This show constitutes a seemingly more conventional approach by Grosse, taking on similar artistic concerns in a new context and approach.

Adopting a conceptual approach, the artist focuses on social issues and artistic processes and conditions.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Featuring painting, drawing, installation, video, sculpture, and performance, the exhibition highlights artists whose work both draws on and challenges traditional artistic approaches to the natural and built environments.

This collaborative approach helped define a heterogeneous program, as well as a curatorial process focused on optimizing the conditions around artistic production when commissioning new works.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

At 4 pm on Saturday 18th October 2014, Zina Saro - Wiwa will be in conversation with Koyo Kouoh at 1:54 Forum, at Somerset House discussing their approaches to nurturing creative and artistic environments through their respective art spaces.

It is likely that it was at Der Sturm that Bauer first saw the work of Kandinsky, an artist whose philosophy and approach would have a strong impact on Bauer's artistic direction.

In order to visualize the range of artistic approaches based on lettering, the exhibition will also present several sculptural works.

The exhibition, inspired by the museum's recent acquisition of Richard Diebenkorn's sketchbooks and Edward Hopper's painting New York Corner (both on view concurrently), explores the reality and representation of artistic work through a number of thematic approaches.

From the digital highly detailed images to a more painterly approach of the brushes on canvas, these artists will present a broad range of artistic mediums and personal styles, highlighting the versatility of the movement.

The exhibition concentrates on the transformative potential of every day materials and highlights the subtle beauty in the artists» formal approach to modernist composition, examining a particular engagement with materiality and celebrating artistic sensibility through a selective approach to recognisable, real life visual experiences.