Sentences with phrase «been interested in working with robert»

Not exact matches

Interesting discussion — Totally agree about the «punching above their weight» problem with the current spate of «popular» atheists and junk writers, as well as the «Hollywood» treatment of Pullman, but you don't need to wade through Pullman's trilogy to get a useful insight into institutionalism vs genuine spirituality — just pick up the excellent «The Dragon in the Sea» by Dune author Frank Herbert or «The Moon is a Harsh Mistress» by Robert Heinlien — great works from the Golden Age of Science Fiction literature.

Robert Gibson of the English Institute of Sport, who works with the GB Boxing Olympic squad in Sheffield said: «This is a very interesting system with lots of merits.

Jacobs is always enjoyable to watch and only seems to get better with each project, while Kline and Mary Steenburgen (as Robert's real estate agent turned love interest) deliver great work in the movie's «B» story.

Because I had parents who thrived at working with interesting filmmakers, I was raised to understand that if you get five scenes in a Peter Bogdanovich film or a cameo with Robert Altman, you don't do the lead in the teen movie.

We previously reported on Elizabeth Olsen being in talks with Marvel and her interest in working with Robert Downey Jr., but nothing on the casting front is official.

Going through the process of writing the film and working with my co-writer, Joe Robert Cole, I thought Shuri would be a cool Q. It'd be really interesting seeing a young African teenager who's manipulated this element in ways that nobody else could and who's confident and able to have her own space.

Post-Twilight, Robert Pattinson has been doing consistently interesting work, but in 2017 he really leaped forward with a pair of performances in The Lost City of Z and Good Time that really get the lead out and give a hint to where he's heading in the next phase of his career.

In the first of a new series called «Level With Me, Dan Pinchbeck», modder Robert Yang chats with the aforementioned Pinchbeck, who's currently working on a reboot of his 2008 Source mod Dear Esther; Pinchbeck especially has some interesting ideas on whether «lazy» narrative really needs to be «saved&raqWith Me, Dan Pinchbeck», modder Robert Yang chats with the aforementioned Pinchbeck, who's currently working on a reboot of his 2008 Source mod Dear Esther; Pinchbeck especially has some interesting ideas on whether «lazy» narrative really needs to be «saved&raqwith the aforementioned Pinchbeck, who's currently working on a reboot of his 2008 Source mod Dear Esther; Pinchbeck especially has some interesting ideas on whether «lazy» narrative really needs to be «saved».

Ward, who says he is tone - deaf and has little interest in music or hobbies, is still mostly into «collecting stuff from the streets» in his free time - though he adds that he has recently become fascinated with reading the works of Robert Farris Thompson, a professor at Yale who has written extensively on the art of Africa and its diaspora.

The genesis of the Green Gallery was Robert Scull's interest around 1959 in discovering and securing works by new artists directly, without having to deal with a gallery.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

History Established in June 1991, Intuit is a nonprofit 501 (c)(3) organization dedicated to presenting intuitive and outsider art — with world class exhibitions; resources for scholars and students; a Permanent Collection with holdings of nearly 1,100 works of art; the Henry Darger Room Collection, a permanent installation; the Robert A. Roth Study Center, a non-circulating collection with a primary focus in the fields of outsider and contemporary self - taught art; and educational programming for people of all interest levels and backgrounds.

Ward, who says he is tone - deaf and has little interest in music or hobbies, is still mostly into «collecting stuff from the streets» in his free time — though he adds that he has recently become fascinated with reading the works of Robert Farris Thompson, a professor at Yale who has written extensively on the art of Africa and its diaspora.

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

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Ref ID: 02220 - 0010330717 Classification: Accountant - Staff Compensation: DOE Staff Accountant Candidates looking for full - time work will be interested in Robert Half Finance's Staff Accountant opportunity with an innovative company.