Sentences with phrase «as a commercial artist over»

I spoke to Laura Collinson about Pursuing your dreams as a commercial artist over at Creative Boom.

Not exact matches

Tim, who has co-written over 400 commercial treatments and music videos with directors including: Wim Wenders, Richard Ayoade and Jonas Ackerlund, for clients and artists such as: Lady Gaga, Honda, and Louis Vuitton, opined that, though he haven't watched Ghanaian movies before, he likes African stories and since he's in Ghana to learn and see how to assist both the needy through Obiba Foundation and people in film - making, he has started watching Ghanaian films.

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.

(Grade: B)-- Lake Bell's charming In A World may be the first film to explore the occupation of voice - over artists (otherwise known as the folks with soothing and booming voices narrating trailers and commercials).

In over a decade collaborating with clients as a book cover artist and commercial graphic designer, I've come up with proven tips every fiction author should employ when navigating the book cover design process.

Contemporary ideas of domesticity are on trial in this group show, as artists like LaToya Ruby Frazier, Robert Gober, and Paulina Olowska examine how our interiors have become more commercial and political over the past century.

Georgina Davis worked as a commercial artist for over thirty years, at a time when few women were able to pursue independent careers in the arts.

Over the next several years Okada spent long periods in Kyoto and Paris, funded by Fulbright and Guggenheim Fellowships, interspersed with periods of working as a commercial artist for the Boeing company in Seattle.

Likewise, the emphasis on mutable collection displays over fixed monoliths is uncomfortably paralleled by a broader trend in museum operations toward perpetual newness, with showpiece buildings, event - driven spectacle, and an inevitable closeness with the commercial art market as more and more space is given over to emerging contemporary artists.

Of course quality was the first selection criterion to bring these 36 artists from different countries together, but for curator Janice Whittle there was another important reason to select the artists she liked to present: she wanted to give the floor to artists who have not had many chances over the years to show their work because of the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and went.

The participating artists appropriate mass - media technologies towards various ends: Paper Tiger Television establishes independent public access television as a critique against the commercial media industry, Guillermo Gómez - Peña stars in a guerilla television performance piece in an act of electronic civil disobedience and Danielle Dean uses the language of over 50 years of water and toothpaste company advertisements to explore the rhetoric around purity and whiteness.

After working as a commercial photographer for over a decade, New York based artist John Dugdale lost almost all of his sight.

While Chelsea may be asleep, I've always find that the end of the summer presents itself as a golden nugget of opportunity for lesser known artists and curators to take over unoccupied gallery spaces, and to garner publicity usually hogged by larger commercial galleries.

Over the past 20 years the Victoria Miro Gallery has established itself as a leading commercial gallery representing established international figures whilst continuing to support the work of innovative younger artists from across the world.»

It sounds like whoever is behind it are not willing to respect or work with our established arts community of over 1,200 local artists, but are creating a simulation of our community as a commercial space for outsiders or newcomers in the neighborhood who do not know the decade long history of Bushwick Open Studios.