Sentences with phrase «between real artists»

He paints a picture of the British contemporary art world split down the middle between real artists and mere ironists.

Not exact matches

As Artist would say: «Schizophrenia is a mental disorder that makes it difficult to tell the difference between real and unreal experiences, to think logically, to have normal emotional responses, and to behave normally in social situations.

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.

But even I struggled to enjoy this stilted and ultimately depressing romance triangle between raffish real - life British artist AJ Munnings (miscast Dominic Cooper), Stevens's jolly - good - sort soldier and a pouty drip called Florence who is played by Emily Browning but could have quite happily, indeed, more interestingly, been played by a goldfish.

«Bound by Debt» is stunningly driven by its use of realistic action sequences, gripping performances by the real life martial artists who were cast in the supporting roles and the alluring camaraderie between the main actors, particularly Paul, Ciasulli, Frantzeskos and Silva.

Because the film features con artists at work it is easy to anticipate the lies on top of lies procedure, therefore, the love triangle that forms between the three leads becomes the real emphasis of the story.

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.

Tagged With: Adolph Hitler, based on a true story, based on real people, cinema, drama, failed artist, film, Germany between world wars, Nazi, Noah Taylor, phone interview, rise of Fascism, theory of acting

Adapted from Greg Sestero's best - selling tell - all of the same name, «The Disaster Artist» chronicles the real - life friendship between Sestero and Wiseau and the calamitous roller - coaster ride they went on to create their 2003 stinker - of - epic - proportions, «The Room,» widely considered one of the worst films ever committed to celluloid.

These books range between academic researchers with real evidence, and seat - of - the - pants artists who got...

So, with a plethora of scam artist lenders, how do we distinguish between the real and the fake?

Real violence reflects the artist's interest in states of interaction between the viewer and the work, in particular as they are activated by the gaze.

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.

With the majority of work having been made between 1964 and 2014, the exhibition brings together a group of thirty - five intergenerational American artists who share an interest in the U.S. South as a location both real and imagined.

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.

The work of New York - based artist Brian Alfred examines the relations between the media and the real, underscoring the gap between reportage and first - person experience.

Artist Statement (Excerpt) Resurrection is not only about the process of the mix between abstract and real but also concerned with the presence of human reaction to the emotion associated with enigmatic personal experiences.

Moving between the real and imaginary, Stevi's works are often deeply personal, exploring the artist's desires and dreams.

In the NYTimes, Martha Schwendener reports: «The show at the Parrish, «All the More Real: Portrayals of Intimacy and Empathy,» stems from discussions between Mr. Fischl and Ms. Falkenberg, who met when Mr. Fischl saw a film at the museum about the strategies artists use to elicit responses from viewers.

Reed's entire oeuvre makes it clear that he places the painted image in a structural «in between»: Thus painting becomes, in the artist's cosmos, a normal and real part of our lives as well as a completely artificial and illusory staging.

«He's been a real bridge between the modernists and more contemporary artists,» said Sukanya Rajaratnam, Mr. Mnuchin's business partner.

Artist Lynn Hershman Leeson subtly undermines our ridicule of past practices with a real - time «consultation bot» that blurs the boundary between superstition and fact, nudging uncomfortably close to the role that Google and WebMD play in modern life.

Contemporary portraiture — both real and imagined — and the relationship between self and other, or between artist, sitter and viewer, is explored by nearly 30 international artists in this display.

Over the last three decades, artist and filmmaker Lynn Hershman Leeson has been internationally acclaimed for her pioneering use of new technologies and her investigations of issues that are now recognized as key to the working of our society: identity in a time of consumerism, privacy in a era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds.

The relationships between these artists extend beyond theme and tendency and also, perhaps most importantly, take place in the real world.

Though it is the artist's figure drawings, like the selection prepared for this exhibition, where we truly celebrate Tworkov's unique, intimate, and nuanced hand and where the artist's conflict between the real and the imagined, the abstract and the representational appears to resolve with some terrific intent.

Repurposing what might be mistaken for household garbage (or might actually be), the artist gives these bizarre constructions a discernible pulse, playfully maneuvering between flat and dimensional space, between representation and abstraction, between the real and the unreal.

This exhibition features the work of artists who generate meaning via cracks in mimesis, delving into the intermediary spaces where the illusory meets the actual in order to examine the understood but oft - unacknowledged gulf between the real and the reproduced, as well as the knowable functional reality of the artifice's construction, the evidence of tremor in the Trompe - lœil painter's hand.

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

Contemporary portraiture — both real and imagined — and the relationship between self and other, or between artist, sitter and viewer, is further explored by nearly 30 international artists alongside Zaatari in this display.

American artist Jonathan Monaghan (born 1986, New York) creates sculpture and animated video installations that challenge the boundaries between the real, the imagined, and the virtual.

Be it the rebound of the real estate market, continued financial hard - luck of Gen - Y» ers or the proclivity of New York City to run on pretension, permanent project spaces and artist - run galleries remain few and far between in the Big Apple.

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.

«Concurrently, the city itself is being reshaped by a voracious real estate market that poses particular challenges to local artists... Against this backdrop, Greater New York departs from the show's traditional focus on youth, instead examining points of connection and tension between our desire for the new and nostalgia for that which it displaces.»

In such a way, the artist was always floating between the two worlds, the real and the imaginary one, looking to make a unique artistic bridge between them.

The exhibition will also feature recent developments in the artist's approach to sculpture which, on many levels, bridges the gap between the virtual and the real.

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.

The artist's decision to use a product of the Coca - Cola company to probe the relationship between the genuine and the artificial is significant, given the company's iconic marketing campaign of the early 1970s with its famous tag - line «It's the Real Thing.»

Johnson is an interdisciplinary artist and curator who uses video, sound, performance, and social practice to explore the blurred lines between rehearsal and performance; real and imagined landscapes and borders; and perception, memory, and interpretation.

The installation comprises 74 individual titles of the artist's video and film works, amongst others «24 Hour Psycho» (1993), «Between Darkness and Light (After William Blake)» (1997), «Play Dead; Real Time» (2003), «k. 364 — A Journey by Train» (2010), «Henry Rebel» (2011) and «Phantom» (2011).

What your artist's watercolor is missing is the five thousand people who are actually standing between him and the Panthenon in real life.

9-11/9 -11, Chile / USA premiered for Creative Time on the 2007 anniversary of 9 - 11, screening simultaneously in New York City and Santiago and was accompanied by a live simulcast Q&A between the artist, filmmakers and members of both audiences, folding Chin's own artistic response back into the real life public arena.

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.

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.

The book accompanies the reader through an imaginary and real itinerary, between history and trickeries, from the installation and performance Hiding the Elephant — referring to the people who «mysteriously» disappeared, who were exiled or persecuted during the Cold War — to the last works of the series Untitled Views — digital prints on mirror in which the artists experiment the theatrical effects of colored smoke bombs.

«Dimensions Variable» also features the artist's hand - constructed frames, suggesting a threshold for the subjects of the paintings to come forward, into «real life», as they visually oscillate between the foreground and background of the illusionistic painting.

The illusionary effect he achieves highlights the artist's playful approach, which uctuates between mimicry of the real world and construction of a surreallistic reality.»

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.