Sentences with phrase «as artistic approaches»

In addition to applications by filmmakers and animators as well as artistic approaches, the VRLab relates the history of virtual and augmented reality's development.

As disparate as the artistic approaches appear to be in Rothko to Richter, what united the painters throughout the period was a commitment to process, as artists explored a range of brushwork techniques, from audaciously gestural ribbons of built - up paint to vibrating fields and soft washes of color to hard - edged geometries.

While at 18th Street, he allowed the contemporary culture of Los Angeles as well as the artistic approach that many local artists take, to influence and develop his work.

The search for unexpected connections between humans, materials and architecture continue as an artistic approach in the exhibition itself.

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.

Many other Belgian - style beers followed and Arthur gained a reputation in the industry for his interpretation of Belgian brews as well as for his artistic approach to brewing.

The IAA show is a highlight of the D.I.C.E. Summit (Design, Innovate, Communicate, Entertain), a yearly conference dedicated to exploring approaches to the creative process and artistic expression as they uniquely apply to the development of interactive entertainment.

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

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.

In this approach pedagogy is flipped so that the skills, processes and understanding of the creative or artistic inquiry become the teaching focus, emphasising such things as creativity, imagination, critical analysis, empathy, experimentation, synthesis, and voice.

Whether the teacher uses music or some other artistic form, it is important to find a novel, inviting, and meaningful approach to act as a catalyst for open dialogue and discovery.

Arts integration took off as an approach to teaching and learning because it taps artistic processes not only as subjects in and of themselves but also as tools for processing knowledge in other subject areas.

«Eisner's eloquence in writing and speech gave heart to and bolstered many educators who felt that the humanities, qualitative approaches to evaluation and artistic criticism had been hijacked by those who wanted only numbers as a sign of effectiveness.»

Lothlorien has made internet headlines for her approaches to digital publishing, notably some harsh criticism in recent months over her practice of responding to both positive and negatives reviews of her books, which she sees as more of a customer service issue than an artistic one.

But as a work of art, it's a modern masterpiece, ready to be experienced and explored by those looking for an adventurous, artistic approach to the medium.

Told through an artistic approach to narration, Rain's expressive sounds, those of rainfall and splashing water, combined with this otherworldly tale is designed to awaken the sense of uncertainty and solitude inherent in every player as well.»

Despite the profit - oriented approach of the parent company, however, the developers of Silent Hill had much artistic freedom because the game was still produced as in the era of lower - budget 2D titles.

While I'd usually class this as straight up plagiarism, Ash of Gods» world design, mythos and characters all radiate originality that the artistic approach is one of taking a concept that works and going «Hey, this is how we want to do things differently.»

As well, the sound effects complements the cute yet artistic approach taken by Creat Studios here.

,» 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.»

Already by the mid-1960s, painting had lost its authority as the dominant artistic medium and instead galleries had begun to show much more heterogeneous experimental and sometimes politically and socially provocative work in new media (film, video, and photography), as well as confrontational live art and other kinds of participatory and performance - based approaches.

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.

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.

For the interview published in the May / June 2013 issue of Art New England (available online here) Miler depicts Lemieux in the studio preparing an exhibition of works that homage her artistic heroes — artists who share an approach that Lemieux describes as «the conceptual, the playful, the «why not»?»

The result is a portrait of the general intelligence of an artistic community, including both the inspiration of individual artists as well as an impression of shared discourse and cognitive approaches to art making.

Active in the Post-Sense Sensation events from the late 1990s, his work has explored a wide range of mediums from painting to film, installation and sculpture as he gradually shaped a unique artistic approach that has garnered increasing acclaim across the world.

To this aim, he employs conceptual and methodological approaches borrowed from artistic and academic practices such as film, poetry, theater, linguistics, and journalism.

Using the physical street as a canvas for expressing their ideas, Faile is part of a global movement that has been embraced by audiences for its popular approach to artistic and creative expression.

It requires no specific artistic talent, taking a more intuitive, right - brained approach that encourages the hand and eye to work as a team.

LAND supports dynamic and unconventional artistic practices using a tripartite approach: Commissioning public projects of site - and situation - specific works with national and international contemporary artists Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities Offering additional programs such as performances, workshops, residencies, discussions, and publications LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large - scale, multi-artist, multi-site exhibitions and single - site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists

Michelle Grabner's multiple roles — as artist, professor, curator, and critic — enable her to approach her artistic practice in a variety of ways.

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.

Challenging traditional perceptions of artistic professions in Bangladesh, Rahman has pioneered a cross-media approach, working primarily as a performance artist and painter exploring sociopolitical conflicts shaping the history of Bangladesh and South Asia.

However, in other ways, the works may also be viewed as subverting that same attitude: through their creative approach to recycling these materials, and repurposing them as art objects, both artists successfully assert their own artistic identities through the raw materials of consumerism.

Widely known for innovative installations such as Sleepwalkers, presented at the Museum of Modern Art, New York, in 2007, Doug Aitken utilizes a wide array of media and artistic approaches, leading us into a world where time, space, and memory are fluid concepts.

Their interdisciplinary approach to a developing artistic vision and practice equips students to thrive as an emerging professional within the regional, national, and international scenes of art, design, and writing.

The exhibition extends a dialogue exploring womanhood and femininity within the art world, developing this investigation through an all - encompassing approach to the natural coalescing and cross over of what has been conventionally designated as «masculine» or «feminine» in artistic practice...

The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.

Clearly approaching the role of curator as an artist, Bechtle selected a collection of works that operate as an extension of his own artistic practice.

The strategic plan, launched in October 2007, and the subsequent Action Plan released in 2008, outlined five overall directions for the Council over the next three to five years: reinforcing the Council's commitment to individual artists, working alone or collaboratively, as the core of artistic practice in Canada; broadening the Council's commitment to arts organizations to strengthen their capacity to underpin artistic practices in all parts of the country; enhancing the Council's leadership role in promoting equity in fulfilling Canada's artistic aspirations; making partnerships with other organizations, including other funders, a key element in the Council's approach to advancing its mandate; and enhancing the Council's capacity to support the arts and implement change by strengthening its structure, staffing and services.

As part of the Glasgow International Festival of Visual Art, approaches to translate the subjective experience into the artistic process were explored in In the Shadow of the Hand and Back to the Things Themselves.

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.

Studying augmented reality with Digital Arts Professor Carla Gannis last spring, the students explored various approaches for using AR as an artistic and research - based medium.

The exhibition recalls several threads from Jean Genet's book, which provide a prism for a special reading of Xing's artistic practice; in every image she creates, Xing reconstructs reality, as if driven by a compulsive desire to be at the center of the incident, approaching her characters with a marked sensuality.

Jensen's intricate methodology reflects a distinctive approach to painting, refining his wide - ranging studies of science, math, and philosophy — such as Goethe colour theory, Pythagorean mathematics, the Mayan calendar, the I Ching — into a personal artistic vernacular.

Virtual Reality as artistic medium for the 21st century, curator Tina Sauerländer speaks with artists Li Alin, Banz & Bowinkel, Fragment.In, Rindon Johnson, Marc Lee, Mélodie Mousset, and Alfredo Salazar - Caro about their artistic approach and the potentials of the medium of Virtual Reality.

Appropriating the name of a popular brand of French notebooks, the group's members use this construct to approach the notion of artistic identity itself as being the equivalent of Warhol's Brillo Box or Duchamp's Fountain — a preexisting object that can be transformed by recasting it in a new context.

«Ida is fascinating not only because of the dynamics within her famous artistic family but also for the distinct approach of her work, which reflects a range of contemporary influences, such as American Modernism and Regionalism.»

Twenty different artistic approaches in the media of photography, sculpture and installation explore the phenomenon of the «second skin» as a means of insulation against nature or as a way of bringing oneself closer to it.

Discussing what were then still relatively new and overlooked artistic fields, these texts are particularly useful as signposts to how these new media and works were approached.