Sentences with phrase «between real art»

Not exact matches

And what I always find is a kind of real - time performance art — dynamic interactions between our frontline crews and constantly shifting casts of customers, with the overriding goal of ensuring that when customers exit our «stage,» they are nourished in soul as well as body.

Subject - object, or I - It, knowledge is ultimately nothing other than the socially objectivized and elaborated product of the real meeting which takes place between man and his Thou in the realms of nature, social relations, and art.

«There is no real education without personal responsibility, and there is no responsibility without freedom» If true education is an education in the virtues then we can begin to see a link between the work of the Jubilee Centre and the work of the Benedictus College of the liberal arts, which places itself in a tradition stretching back through Blessed John Henry Newman, St Thomas Aquinas and St Augustine to Aristotle.

«The things that go into making a great coach area: 1st: being a really compassionate caring person that has a real interest in people growing... the art of coaching begins with [a real] understanding [of] the value of the person in front of you... that high regard that a person has for another is at the center of GREAT coaching... That space between... the outcome and what [we say] to them... defines young minds, how they think about themselves taking the credibility from an adult voice.

«Our ambition is to create a connection between the viewer and the very real art of building taking place on a live construction project - especially as many of these are located in the very heart of public spaces,» says Art of Building manager Saul Townseart of building taking place on a live construction project - especially as many of these are located in the very heart of public spaces,» says Art of Building manager Saul TownseArt of Building manager Saul Townsend.

«Our ambition is to create a connection between the viewer and the very real art of building taking place on a live construction project.

Cognitive neuroscientist Vittorio Gallese of the University of Parma in Italy, who is also exploring how the brain responds to works of art, finds the new link between real and fictional worlds exciting, but is skeptical of the distinction between literary and mainstream fiction.

«The technology developed in my lab is particularly promising for bridging the gap between state - of - the - art R&D and real - world applications,» said Joanna Aizenberg.

The Swapper features a unique art style that uses real - world clay - models and found objects to create an explorable space station realised in unique detail; gameplay sees players swap between different bodies to achieve otherwise impossible tasks.

The Blu - ray debut features all the supplements of that release: three commentary tracks (one by director Terry Gilliam, one by stars Johnny Depp and Benicio Del Toro, and one by producer Laila Nabulsi and author Hunter S. Thompson), deleted scenes with commentary by Gilliam, the 1978 BBC «Omnibus» documentary «Fear and Loathing on the Road to Hollywood» (with Hunter S. Thompson and artist Ralph Steadman), the ten - minute featurette «Hunter Goes to Hollywood,» an audio documentary on the controversy over the screenplay credit, a survey of the marketing campaign, selections from the correspondence between Johnny Depp and Hunter S. Thompson (read on camera by Depp), an excerpt from the 1996 audio CD «Fear and Loathing» starring Maury Chaykin, Jim Jarmusch, Harry Dean Stanton, and Glenne Headly, background notes on Oscar Zeta Acosta (the real life activist and attorney who inspired the character of Dr. Gonzo), and galleries of storyboards, stills, and Ralph Steadman art.

The source material here is a novel by David Ebershoff, which plunks The Danish Girl somewhere between biopic and literary adaptation; among other things, the movie de-queers its 1920s art world milieu, with Gerda portrayed as more or less straight here, despite the fact that her real - life equivalent had a significant sideline drawing lesbian erotica.

In fact, the only real story in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroes.

The songs, lives (real and imagined) and mysteries of Bob Dylan make up the soil from which Todd Haynes» impressionistic survey of the enigmatic Bob Dylan, his art, and his interaction (and at times collision) with the culture is another of his investigations of the inextricable ties between style and substance, surfaces and identity.

Lines are so blurred anyway between what is «art» and what is «real life» that you half suspect the interruptions may be part of the performance.

Son of Saul's tight framing and lack of script contrivance turned the unimaginable horror of the concentration camp into lived subjective experience while Nocturnal Animals gave us a stylish rumination on the difference between revenge in real life and in art with sly nods to Lynch and Hitchcock along the way.

The toggle - switch in most of the communications arts is between turning the real world off and turning it on more vividly.

The parallels between a mother not wanting to let go of her daughter and a filmmaker not wanting to finish her film a striking real life connection between art and artist.

There are very serious conversations going on between filmmakers and distributors for an art form that is experiencing real challenges.

However, connoisseurs of graphic design and poetic metaphors may find themselves mesmerized by movie's amazing art direction and the script's obvious attempts to draw parallels between the heroine's real and imaginary worlds.

Redford has said in the past, «Cinema, both fiction and non-fiction, has shown over and over that as human beings, we share values beyond any border, real or imagined,» and he founded Sundance Institute on the belief that art, and in particular film, has a unique power to nurture understanding between diverse cultures and people — to foster tolerance in an often intolerant world.

«There is no real divide between science and art: science is simply an art of studying natural phenomena and art is the science of giving expression to the creations or interpretations of our minds.

This sensual jazz - age story is about the relationship between real - life Art Deco painter Tamara de Lempicka and her muse, Rafaela, the woman famously depicted in the portrait Beautiful Rafaela (and on that stunning book jacket).

Alternating between real and magic, past and present, friendship and romance, hope and despair, The Astonishing Color of After is a novel about finding oneself through family history, art, grief, and love.

Capital gains are profits or the difference between the original cost basis of an asset (such as stocks, bonds, mutual funds, art or real property) and the price at which it was sold.

At times it even feels a little too on the nose when it comes to riffing directly from the Blizzard classic, but with a unique art style and a fascinating blend between tower defense and real time strategy mechanics, Iron Marines manages to feel distinctly different even if it is giving a unbelievably massive hat tip towards the StarCraft universe...

He notes that «this is not a real Yoshi game, but it should be» while drawing comparisons between the composition of this piece and the art from Super -LSB-...]

He notes that «this is not a real Yoshi game, but it should be» while drawing comparisons between the composition of this piece and the art from Super Mario USA (the Japanese version of our Super Mario Bros. 2 and its forebearer, Yume K?j?

Between this and MoMA's continued partnership with Volkswagen, there seems to be a real influx of automakers in the art space, where things like seeing a noise performance in the upscale car convention - like «VW Dome» seems par for the course.

I am sure there are many who would disagree with me and we all know that art today is very subjective... there's a real difference between an «unknown» and a «known» name [who can produce rubbish that collectors clamour for], so for the majority of us, pride in our work is of paramount importance.

Jason Rhoades» point of departure for this sculpture is the dynamic between the literalness of a store - bought, «real» object and its potential to become, within the context of the work of art, a vehicle to illustrate abstract and / or theoretical concepts.

MASS MoCA's new collaboration with the Rauschenberg Foundation builds on convictions central to both organizations» missions: the importance of the relationship between the fine and performing arts, of nurturing new works by established and emerging artists, and of the ability of the arts to affect real change in the world at large.

Breaking with the lyrical, abstract styles then dominant in Paris, the nine artists present declared their commitment to «new perceptions of the real,» incorporating found objects and quotidian materials into their work in an attempt to blur the distinction between art and everyday life.

Feminism proposed two alternative sets of criteria between 1970 and 1990: in the 1970s, the first — in whose development Schapiro participated — challenged the formalist canon for its exclusion of so much political narrative, and even formal content and materiality, and proposed alternatives that looked to craft, costume, folk art, surrealism, the real, lived experience, and the body; the second, developed by deconstructionist feminism during the 1980s, challenged the first for its essentialism and looked back to aspects of modernism other than those promoted by Greenberg, namely the fragmentary, the filmic, the appropriational, and the disruptive aesthetics of Brechtian distantiation.

Victory Arts» Pustorino says that he was impressed by the number of real connections the show was able to make between artist and buyer.

Art fairs, auction prices, the cost of Chelsea and Williamsburg real estate, the revolving door between dealers and curators or collectors and museums, overblown installations, and overblown reputations — you know the culprits.

Castlefield Gallery's exhibition Real Painting, co-curated by Aesthetica Art Prize finalist Deb Covell, investigates the crossover between painting and sculpture featuring the work of 10 artists.

For over forty years, Chaimowicz has been making work about the work of being an artist, and striving to dissolve the boundaries not only been art, décor and applied arts, but also between public and private realms: between art and real life itself.

In late June, the artist will launch his «Invisible Art Project,» which will allow guests to interact with the massive wood installation via a free custom augmented - reality app (the most advanced yet of its kind), which will create completely three - dimensional, real - time virtual «Harmoniums» between the massive wood image and the viewer.

Passages: Walking in Contemporary Art,» Perlman Teaching Museum, Carleton College, Northfield, MN «Photography and Film Constructs,» Ringling College of Art and Design, Sarasota, FL «Another Landscape,» Yang Art Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt,» Perlman Teaching Museum, Carleton College, Northfield, MN «Photography and Film Constructs,» Ringling College of Art and Design, Sarasota, FL «Another Landscape,» Yang Art Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt and Design, Sarasota, FL «Another Landscape,» Yang Art Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, Chart showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, ChArt Centre, Beijing, China

They never met in real life, but a new exhibit at the Baltimore Museum of Art feels like a conversation between the two artists.

Six full - color illustrations are given to each artist included: Brian Calvin, Anna Sew Hoy, Ron Nagle, Michael Reafsnyder, James Richards and Patrick Wilson — all of whom collapse the fictitious distinctions between art and craft, painting and ceramics, form and function, leisure and labor, still life and real life, confounding the boundaries between each.

Between the Real and the Imagined: Abstract Art from CINTAS Fellows explores the language of abstraction and its many variants represented in the work of Cintas Visual Arts Fellows across different temporal moments and generations.

The issues she investigates — such as identity in a time of consumerism, privacy in an era of surveillance, and the relationship between real and virtual worlds — appeared in her art practice long before they became key topics in our society.

Whilst Time Passes assumes a documentary format, in fact, it is scripted, staged and performed, harnessing the tension between art practice and creativity on one hand, and «real life» on the other.

The difference between an art festival per se and a loose scattering of strong independent shows is more apparent than real.

Her work often blurs the line between life and art, leaving the viewer with an onslaught of questions: Is this the real her?

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

In what he has described as a desire to «reintroduce people to the real» Harman confronts the territory between the act of creation and the act of experience, by linking the art and the audience by leaving behind a quiet transformation so that nothing appears to be different, even if everything has subtly changed.

Madrid Abierto Public Sculpture Competition, Madrid, ES 2005 Go - Between, Magazin4 / Bregenzer Kunstverein, Curated by Dr. Wolfgang Fetz and Peter Lewis, Bregenz, AT 2005 Library, Librarie, Institute of Contemporary Art, Curated by IDEA London, UK 2005 New Economy, Columbia University Art Gallery, Curated by Eric Angles, New York, NY, US 2005 CAC TV, Contemporary Arts Center, Curated by Raimundas Malašauskas, Vilnius, LT 2004 Synesthesia, a Neuroaesthetics Exhibition, Institute of Contemporary Art, Curated by Chloe Vaitsou, London, UK 2004 Everything is Connected, He, He, He, Astrup Fearnley Museum of Modern Art, Curated by Gunnar Kvaran, Oslo, NO 2004 Silent: A State of Being, Madrid Abierto Public Sculpture Competition, Curated by Jorge Diaz, Madrid, ES 2003 Harlem Postcards, The Studio Museum in Harlem, Curated by Christine Kim, New York, NY, US 2003 Fröhliche Wissenschaft, Brandenburgischer Kunstverein, Curated by Wilfried Dickoff, Potsdam, DE 2001 Bitstreams, Whitney Museum of American Art, Curated by Larry Rinder, New York, NY, US 2001 Urban Pornography: Project Room, Artists Space, Curated by Lauri Firstenberg, New York, NY, US 2001 Optical Verve, Ottawa Art Gallery, Curated by Sylvie Fortin, Ottawa, CA 1997 Making It Real, Aldrich Museum of Art, Curated by Vik Muniz, Ridgefield, Colorado, US.

By synthesising traditional art - making techniques with new technology, she examines the boundary between the hyper - real and the imaginary, between perceptual and embodied space.