Sentences with phrase «building narrative work»

Presented alongside new sculptures, drawings, and digital images that seem like artifacts from the world he has created, this exhibition continues the artist's explorations in building narrative work.

Not exact matches

When we were building the campaign, we did explore the idea that our summer athletes might consider themselves underdogs — that's a narrative we could have worked with.

From its beginnings, it's been a place where narrative artists — writers, filmmakers and the like — welcome the discipline of structure in their work lives, and build a community of peers.

Burke recommends that the analysis of any written work should begin with the «principle of the concordance».21 The critic builds an index of significant terms: terms that recur in changing contexts, terms that occur at significant points in the narrative, terms that seem heavy with symbolic meaning.

Miller builds her narrative around physical, sweaty work on the house, a growing intimacy between Lottie and Elizabeth during coffee - break conversations, and Lottie's discovery that her brother's obsession is being exploited by Elizabeth to fill her lonely summer months.

That may or may not be the final name, but it is our working name for a new curriculum that will be theologically - robust, mission - driven, and built around the narrative of the Scriptures.

Mr. Mengestu wants to build «narrative bridges» in his work, «between seemingly disparate parts of the world and the borders, both real and imagined, that divide them.»

Some are quick to deride this film as a shadow of Malick's previous work, but, if anything, it's the natural conclusion of the themes, narrative sensibilities and aesthetic he's built over the last four decades.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

James Tynion IV has done remarkable work crafting compelling drama around the Bat - family with his Detective Comics run, taking cues from the Chris Claremont school of superhero storytelling to build a dense narrative featuring a big cast of characters, each with their own subplots.

Gone are the days of forward - moving plotting, character build - up, and narrative cohesion — the building blocks of nearly all great works of fiction.

So they spend much of the movie trying to build a narrative around Gore himself, as he works to open more minds and bring world leaders into his eco-fold.

Jacques Rivette's dazzling 750 - minute Out 1 (1971)-- an eight - part serial in 16 - millimeter still unscreened in this country that remains one of the boldest experiments in film narrative ever attempted — was conceived as a kind of parody of Bazin's ideas in its deft mixture of documentary and fiction, its improvising actors working through a dense plot built around real and imagined conspiracies, and even its extended takes, one of which lasts 45 minutes as it records a theater group's exercise.

by Bill Chambers The Lucio Fulci apologists like to say that gore and general impropriety are the raisons d'être of his work, not storytelling, but there's a built - in fallacy to that implicitly macho challenge: It presumes that his films are light on narrative when in fact it's narrative drive that they lack.

The narrative is split between four different chapters, each focusing on a different character exploring Jump World, building a team to compete, and working to achieve their own personal goals.

Lucas also serves on the board of The Film Foundation, the USC School of Cinematic Arts Board of Councilors and will build the Lucas Museum of Narrative Art, emphasizing American illustrative, digital, cinematic and animation art as an avenue for the exploration of the great storytelling history, populist works and artistic innovation of the past 150 years.

This work will build on previous research on the impact of early instruction in narrative language skills, such as story structure, character development, and causation.

I can view the big picture of a work, suggesting improvements in narrative pacing, scene - building, foreshadowing, backstory, theme, character motivation, and dramatic tension that will capture and retain your readers» interest.

Embracing multiple narrative media ensures that you're not just building «enhanced» content — you're learning new creative and artistic skills, which will improve your life and work.

This ongoing series of essays on the craft of writing will include all topics related to writing fiction, including: The Basics Plot & Structure Voice Theme POV Characterization Dialogue Narrative Creating a bond with your reader Pacing Advanced writing and plotting techniques Writer's block Marketing Branding Publishing Self - publishing Healthy habits Bad habits The Writer's Life eBook formatting Paperback formatting Amazon keywords Writing blurbs and descriptions Cover design & layout Productivity The Classics Short stories Poetry The Writing Process Show don't Tell Self - editing Proofreading Building a solid career Targeting a specific genre Genre Fiction Literary Fiction Sharpening your writing skills Making every word count Deadlines Putting together an Anthology Working with other artists Collaborating Grammar Punctuation Writing for a career Treating it as a business Running a small press Financing your career Keeping track of your royalties Staying motivated Writing movies Writing comics Writing games Building a fan - base Online presence Newsletters Podcasting Author interviews Media appearances Websites Blogging And so much more... Are you ready to be called an author?

However, I should say that while many of the directions the primary narrative went were not to my taste it does feel like the type of storyline that's going to split opinions about whether it worked well or not, and there were some astounding moments that came of it, such as haunting walks through ghost filled buildings and tunnels.

Players build bases, craft items, tame or battle dinosaurs, and work together to create their own unique narratives in diverse environments filled with massive prehistoric beasts.

Each boss has an intro video and a whole backstory, so the amount of work that has gone into building a credible narrative is impressive.

Be it stylistic choices that build up a sense of the new and unknown, story beats that are based around surprise and excitement, or how narrative design can work together with things like level design to help players feel excited about the little things they find in the game world.»

Last Light also offers a mix of stealth and horror elements that build sections of great tension and all out action working brilliantly with the strong narrative.

will feature around 80 works, including many of Marshall's large - scale narrative paintings, which should feel monumental within the concrete - heavy Marcel Breuer building.

Lamelas» conceptual practice has produced a diverse body of work shifting focus from Pop Art sculpture in the late 1960s to video work that parodies mass media television and examines the building blocks of narrative film.

Her audiovisual installations are arresting works of art that build on shadow plays, overlapping narrative, text, and music.

Focusing on art, architecture and sound linked to feminist and socio - political discourses, Bauer's curatorial work includes the exhibition First Story — Women Building / New Narratives for the 21st Century (2001) for the European Cultural Capital.

The ambitious show will build a comprehensive narrative around the art and influence of black women artists (Camille Billops, Beverly Buchanan, Lorraine O'Grady, Howardena Pindell, Betye Saar, and Carrie Mae Weems among them) who, during the beginnings of second - wave feminism, «worked beyond and at times in antagonism to Eurocentric narratives of feminism and feminist art,» she says.

It is also implicitly narrative and emotionally tense, thanks to all the contrasts Mr. Nagle builds into his work.

Blue Firth's work focuses on encountering historical narratives, and how perception can be questioned through built environments and participatory events.

As such, the body does not follow a narrative, but rather activates the work to generate a displacement towards the exterior, revealing the height, distance and tension between the human scale and the dimensions of the building, while directing our attention to the landscape around the museum.

The works installed on five floors of the gleaming Renzo Piano building tell a story that is complex, and at times contradictory, while demonstrating the limitations of official art - historical narratives in articulating the various trajectories of art and culture in the United States and in the 20th century.

Kahrs» film - like color references the emotive palette seen in work such as Luc Tuymans» Gaskamer, but builds another narrative context that remains familiar but unidentifiable.

Collectively, the work builds on millennia of visual storytelling — from hieroglyphs to narrative paintings to corporate logos — transcending cultural boundaries and linguistic constraints.

Past group shows and screenings include: Rêve du Pierre, curated by Alexandra Fau, Centre Pompidou, Paris (screening)(2016); Night Walk, with Erin Shirreff, deCordova Sculpture Park and Museum, Lincoln, MA (2015); A Night of Philosophy, Ukrainian Institute of America, New York, NY (Screening)(2015); The Daily Show, Bureau, New York NY (2015); The Built Environment: Lower Side in Istanbul, Mixer, Istanbul, Turkey (2014); It Narratives: The Movement of Objects as Information, Franklin Street Works, Stamford, CT, USA (2014); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Kool - Aid Wino, Franklin Street Works, Stamford, CT, USA (2013); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012); The Way Things Go (Part 3), Frutta, Rome, Italy (2012); Single Channel, Soho House, Miami, FL, USA (2011); Forcemeat, Wallspace, NY, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery — Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009).

Ghost House is installed in the temporary exhibition galleries where, rather than following chronological criteria, it creates environments that the artist describes as «built on memory», in which works from different periods are placed in dialogue with one another and with the museum context in the conviction that meaning can be found not only in the individual works but in their relationships, considered collectively and through time, like the narrative overlappings of a story.

At the Swiss Institute, building on visual tropes and thematics introduced in their body of work on view at Chinatown's Hester this past summer — in which technological objects like data lock boxes and medical scanners met narratives and avatars drawn from oft - pathologized online subcultures found on DeviantArt and similar sites — the video «Virocrypsis,» accompanied by a pair of prints on silk, is narrated by the avatars Cynthia and Celinde, who share a body.

Cumulatively, the works conjure the alternately mythical and geologic narratives that our behaviors and buildings will be subsumed by the sea.

Utilizing the exterior architectural niches and arches of the building, her work featured graphic folk art - inspired figurative narratives and vivid geometric patterns reminiscent of traditional American quilt work and Pennsylvania Dutch hexes.

These latest works build on the theatrical narrative potential of the practitioner's previous projects, as shown in the featured See's Candies, Payless, Supercuts 1.

His works build a bridge between minimalist form, serial strategy and narrative content, and have had great influence on contemporary art.

Biennale de Belleville, curated by Marie Maertens, Paris The Built Environment, curated by Kathleen Madden, Mixer, Istanbul It Narrative: The Movement of Objects as Information, curated by Zanna Gilbert and Brian Droitcour, Franklin St. Works, Stamford, CT A Tale Of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, Channel 14, New York, NY Catch Me If You Can: Virus and Catastrophe, Black Iris Gallery, Richmond, VA Two Hours Two Minutes, curated by Tirdad Zolghadr, Images Festival, The Power Plant, Toronto, Canada Invasive Species, Film Sector, Art Basel, Miami, FL

Taken as a whole the works in a David Austen exhibition build together like pieces of an odd narrative: a series of wonderful fragments, each of which stands alone and yet seems part of something bigger.

By using nothing but paint to build a believable space on a two - dimensional plane, thereby openly critiquing work widely regarded as upholding a narrative of progress that was implicitly patriarchal in its telling, she also challenged the received viewpoints and well worn tropes that dominate (and continue to dominate) art history.»

Using folklore and fairy tales, both personally constructed and widely known, Rego's work builds narratives of both trouble and fantasy, often leaving reality behind in favour of a religious fervour.

The realities of race and class that he experienced there became the foundation — the bass line — of his work, upon which he builds fantastical imagery and complex mythologies, influenced by the imaginative realms of science fiction and larger - than - life narratives in hip hop.

He builds narratives through aesthetic decisions, sometimes deliberately overburdening a body of work with a minimal, clean, and polished appeal.

This residency is also intended to build the value of local working artists in an attempt to revise the narrative of displacement due to gentrification and development borough - wide.