Sentences with phrase «artists felt over»

Not exact matches

But Ek said he felt the connection between artists and Spotify has been misunderstood, and likened it to some of the roles played by record labels over the years.

Personally, I felt nervous about using my normal concealing routine, but celebrity and editorial makeup artist Katie Jane Hughes told me that when concealing in tandem with powder foundation, concealers with a mousse texture will still work, but liquid might not lay well over powder.

Will and the Mecca artists did a great job, I am at times a little apprehensive when handing over my face to be made up in case I leave feeling over done, but they completely understood my desire for a glowing, fresh face that is still natural.

Assembled with footage captured over a decade, the film feels as epic as the artist herself.

Collectively they feel like a triumph over the long - simmering tension between art and commerce — between personal expression and commercial concerns — that has seen renewed debate in the film industry as artists endeavor to make movies that feel like more than another episode in a series.

The idea behind this is that I never want my work to be coloured by any personal feelings I might develop for the artist over the course of a conversation — for good or for ill.

7: Burt Reynolds was director Milos Forman's first choice for the lead in «One Flew Over the Cuckoo's Nest» but United Artists believed his appeal with average moviegoers might prevent the film from attracting the critical attention they felt was necessary for the film to be a box - office hit.

Other components allow the virtual artist to smear and blur lines to give it a more hand - drawn look, and the sensation of blurring claims to feel just like running your fingers over a drawing.

As a reader, I know I will not pay e-book prices over $ 8, in fact I give serious thought to books self - published and priced over $ 4 (not that I don't believe the artists may be worth it, but I feel I'm taking a chance on an indie unknown).

We think that all of his speed paintings are amazing, so head on over to LittleBigPlaye's YouTube Channel to check out the rest of his brilliant LittleBigPlanet Speedarts and if you feel that you're a skilled Move Paint artist yourself, tweet us your creations @LittleBigPlanet because we would love to see them!

Voice - over artists have captured the mannerisms and tones of their big screen counterparts, while every car reacts to what happens during events such as if they feel they have been unfairly side bashed.

By generously sharing his work and ideas over months and years, Robinson has provided a rare and unique look into how he, as an artist, thinks and feels in paint.

This means that unless the gallery forks over the name and contact info of the client — and very, very few do because they feel they'll be cut out of the next transaction — you as the artist loses the vital ability to keep in touch with that client!

Artist, performer, Happiness Catalyst, and Creativity Instigator Melissa Dinwiddie, already familiar to many of you, wants «Control over how I spend my time, feeling content and happy with my life, and making a positive impact on the world.»

When the presentation was over, I felt like the artist was a brand representative who had just delivered a meticulously rehearsed sales pitch.

On the other hand, if you're able to use your creative mind to offer somethingon fivrr that would be fun, easy, and related somehow to the work you really love to do (rather than something that feels trivial) then it could be a stream of income to test ideas, practice sketching out quirky concepts, and as Chris said above, «create value, relationships or a portfolio that will build over time», selling work on fivrr / or donating work to silent auctions for organizations you believe in could complement a proactive artist's other marketing efforts.

-LSB-...] don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.

Pollock saw Sobel when the anxious artist felt himself starting over.

Painting in the genre of Abstract Expressionism, I feel a strong affinity for artists such as Joan Mitchell and Willem De Kooning, whose work also emphasizes action and emotion over ideas.

When the BBC came to interview me for News at Ten one of the questions they asked me was, «How does it feel that you've only been asked to be in the Turner Prize now that you're 44 and have been an artist for over a decade?»

The artist Wolfgang Tillmans has said what I feel: «What is lost is lost forever,» he warns over a blue and violet image of the Earth from above, apparently one of the photographer's pictures taken through the window of a passenger jet — an image of boundless space, longing and desire.

The onslaught of these dreamlike hardedge pop works derived from Robert William's successful magazine catering to street artists the world over is enough to make me feel sorry for Artforum, which feels so old and tired, like a hobbled circus elephant, here at ArtPad.

Crosman writes that these paintings «don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.»

While, over the last year, working toward this exhibition my dialogue with each artist has been autonomous and distinct, and my intention for the exhibition was as much to create a context to highlight each artist's independent vision, I have also come to confirm my intuitive feeling that Will and Pope.L have uncanny overlaps.

Rauschenberg's new conception of the White Paintings as ever - changing yet ever - pure, reflecting their environment rather than the feelings of the artist, can be connected not only to his careful observation of these works over time, but also to his growing friendship with John Cage.

For Ongpin, the thrill is in the feeling of closeness to the artist, of «almost looking over his shoulder as he develops his ideas on paper».

Feel free to check out more exceptional work created by talented artists from all over the world on WE AND THE COLOR.

When the visit is over, we are left with the overwhelming feeling of having read through a long list of famous artist names.

I feel like a lot of the artists will prioritize going to their friends» endeavor, whatever it may be, over some fancy event.

Many artists in NYC and elsewhere have long felt that the art of the last 60 years has been viewed from a limited perspective and that the same art historical analysis is repeated over and over.

Younger artists, too, are feeling the potential of all - over painting, including Makoto Fujimura and Joseph Stashkevetch.

Death had, after all, been the defining experience of his life, and one feels that of all the Hollywood artist biopics to ever hit the screen, Gorky's life would probably make the most compelling (and after three biographies written over the course of the last decade, we duly await studio interest).

The impact that Swiss video and installation artist Pipilotti Rist has made over the past two decades or more is hard to overestimate, as her influence is felt in the work of a host of younger artists, as well as in videos by mainstream pop stars like Beyoncé.

I felt it was important for the exhibit to reflect how women are feeling right now, and to have artists from all over the country with diverse backgrounds represented in the show.

The artist - curated event privileges feeling over theory to navigate a city fraught with political turmoil.

Over the past few years, relative to a series of studio visits with artists working in various parts of China, I have felt increasingly compelled to reflect on the development of ink painting.

He highlighted the importance of supporting the artists, because he feels strongly that they should «not get rolled over by a big box economy.»

One big decision the curators agonized over was whether to dispense with the traditional museum practice of devoting separate galleries for drawings and prints; paintings and sculpture; photographs; and film and video — in part because they felt that artists today think and produce across different media.

The Salon is a hidden gem in the Culver City Arts District that strives to provide artists full control over the gallery space which results in fresh, unique events which feel more like a party than an art show.

Over recent years, Mark Flood's influence has increasingly been felt in the work of younger generations of American artists.

I was an abstract painter when I left Yale, and I was really aware, partially because minimalist artists had helped me articulate this, how standing in front of a painting or sculpture felt different depending on whether it's symmetrical or asymmetrical, if it towers over you, or it's smaller than your head how all of those things affect bodily feeling.

However, even in a metro area with a population of about six million, the number of artists can feel small and the number of venues to show work has fallen over the past five years to just a handful.

Already, many sixties artists have taken on, for me, this classical stature — Dan Flavin, Carl Andre, Don Judd, Robert Morris, Kenneth Noland, among others — which feels more like past than present...» Nevertheless, many of the assumptions which were first propounded about the style — or what was commonly claimed, the non-style — of Minimalism (née Cool Art, The Third Stream, Post Geometric Structures, ABC Art, Object Sculpture, Specific Objects, Primary Structures, or Art of the Real) have remained unchallenged for over a decade.

In interacting with the work over a significant period of time, we felt that that the most compelling way to structure the exhibition was to expose the common threads that run throughout this material: formal constructs such as grids / fields, verticality, pictorial imagery, and repetitive sequences; content such as color as subject, element as subject, interest in early American history (particularly that of Massachusetts), discourse about other artists and art; and relationships to the history of poetry.

The list of artists showing here today has developed over time and with discussions between Martina and myself I feel it has evolved into a cohesive group that bounce playfully off one another whilst still asserting their own individuality.

«Crossroads,» as the piece is called, was made by San Francisco artist Bruce Conner back in 1976, when the Cold War was still casting a chill over international politics, and the U.S. was feeling chastened just a year after its ignoble departure from Vietnam.

Wangechi Mutu: Cutting Remarks Enrique Norten: Flux and Flexibility Julián Zugazagoitia: Mr. Zugazagoitia's Neighborhood Katarzyna Kozyra: Shock Tactician Rika Noguchi: She Dreams of Flying Cai Guo - Qiang: Playing with Fire Andrea Rose: If It's Tuesday, It Must Be Tehran Milú Villela: «Supermom» as President Brad Cloepfil: Letting There Be Light Stephen Vitiello: Feel the Noise Tobias Bernstrup: Singing the Body Electronic Carmen Giménez: «She Doesn't Take No for an Answer» Franco Mondini - Ruiz: Kitsch and Sell Joe Amrhein: 750 Artists and Counting Linda Pace: Pace's Place Alain Fleischer: This Is Not Just a Think Tank Paul D. Miller a.k.a. DJ Spooky: The Sample Life Daniele Puppi: Thumps, Grunts, and a Leap Across the Void Ralph Rugoff: Making «Pathetic» Look Good Ingolf Timpner: Going for Neo-Baroque Hedwig Fijen: Moving with Manifesta Anita Contini: Creative Timing Eija - Liisa Ahtila: Scenes from a Mirage Marie - Laure Bernadac: Move Over, Mona Lisa Mark Bradford: Dye Another Day

Over at Nicelle Beauchene Gallery, in his first New York solo show, «The Skin I Live In» (January 8 — February 7), the British artist Jonathan Baldock also appeared to have been informed by Kogelnik in body - minded pieces he made by sewing limbs — felt arms and legs — and dots (pink, white, and blue) in decorous arrangements onto burlap, but the end result is too staid, too restrained.

In an interview with art historian Mona Hadler, Bontecou confessed to a level of anger over that war, which resurfaced when she was a student and young artist in the 1950s: «All the feelings I'd had then came back to me again.»

No single work or artist is given priority over another, and the impact of each piece is felt in the dialogue created between works, within the greater collectivity of the show.