Sentences with phrase «contemporary film history»

Known for some of the most creative and tight screenplays in contemporary film history, it's absolutely baffling to see the Coens deliver something with next to nothing at stake and zero involvement from a character perspective.

Director Peter Jackson has had one of the most unusual journeys in contemporary film history, going from frantic micro-budgeted...

Not exact matches

Brilliantly structured as a contemporary chamber drama about loving your neighbours in the first part and, in the second, as a dreamy silent film re-imagining of their heretofore unknown histories, this is the rare critical darling that's as warm as it is intelligent.

Cooper also manages ARRAY @ The Broad, an on - going film series featuring classic and contemporary films curated with an eye toward the intersection of art, history, and cultural identity.

Although he supposedly retired to Tasmania in the early 2000s, it is very difficult to see a substantial decrease in his level of engagement or activity, though it did give him more time to write for such outlets as Senses of Cinema and communicate his passion for film history, as well as contemporary cinema, in a series of lectures or talks (I'm sure he'd prefer the latter term) held over a ten - year - period at the State Cinema in Hobart.

The only other of the competition films I saw was History's Future, directed by Fiona Tan and written by Tan and the film critic Jonathan Romney, an obscure science fiction tale that is also partly an essay film on contemporary Europe.

Inspired by true events, the stylish and heartfelt film — although it tends to meander through a bloated running time — is both an incisive history lesson and a potent glimpse into the power of protest that carries contemporary resonance.

OPEN MY EYES Revealing films and documentaries revolving around history, politics, and contemporary events from around the world.

But even before he made film history with those unforgettable classics, he was writing about the state of contemporary film as a critic for the British newspaper the Spectator in the late 1930s.

With experience of undertaking modules in a diverse range of subjects, she has acquired exceptional knowledge of contemporary and classical theories which include philosophy, history, cultural studies, film and literature.

Related Links Official Homepage: www.TOMBRAIDER.com Official Twitter: @TOMBRAIDER Official Facebook page: http://facebook.com/TOMBRAIDER Official Tumblr: http://officialTOMBRAIDERblog.tumblr.com/ Official YouTube Channel: http://youtube.com/TOMBRAIDER Square Enix Presents link: https://www.youtube.com/user/SquareEnixPresents/ About TOMB RAIDER The TOMB RAIDER franchise has sold over 45 million copies worldwide and inspired one of the most successful video game film adaptations in history, grossing over $ 300 million at the global box office with protagonist Lara Croft becoming a contemporary global icon.

Hotline Miami, like the films above, is a contemporary satire about media violence, and any video game that can make a cerebral statement that strongly will forever make it's mark on video game history.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

STAN DOUGLAS: Interregnum @ Wiels Contemporary Art Centre Brussels, Belgium Recognized for film work exploring lost utopias of the 20th century, Canadian artist Stan Douglas is premiering the six - screen video installation, «The Secret Agent,» which continues his interest in post-war history and film noir.

This documentary film tells the extraordinary story of Herb, a postal clerk, and Dorothy, a librarian — an ordinary couple of modest means who managed to build one of the most important contemporary art collections in history.

Wylie's bold, large - scale figurative paintings draw on ancient and folk art, such as Mexican street art and contemporary Egyptian Hajj painting, as well as art history and film.

It also includes films and lectures with some of the classics from the history of performance art, as well as contemporary performances.

In many of her performances, films, and sculptural installations, Vicuña utilizes natural and traditional materials to symbolize political and social struggles in her home country and beyond: her «Precarios» are an ongoing series of small installations begun in 1966, composed of feathers, stones, sticks, and other found materials; and her «Quipus», using un-spun wool, are contemporary interpretations of the ancient quipus, or knotted cords used by the Incas for communication and to record their history.

The films shot in three cities, Istanbul, Warsaw and London bring together ancient and contemporary history, the history of cinema, science fiction, and are open to constant interpretations by the viewer as all of his work.

JJ: At the same time that I was looking at contemporary work and studying art history I was looking at film — going to Anthology Film Archives [in New York] and a lot of places that don't exist any more that were showing film in the 1960s and 70s.

Through conversation with artists from a variety of geographic locations we will consider a variety of questions, including: the relationship between animation and other media; contemporary artists» engagement with the histories of art and film; the role of music; the differences among various forms of animation; and animation's treatment of history, time, and place.

IT»S LIKE EISENSTEIN PUTTING ONE THING NEXT TO ANOTHER AND CREATING A LANGUAGE THAT WAY, AND IT IS ALSO RELATED TO SURREALISM AND JUXTAPOSING DISPARATE IDEAS, OBJECTS AND IMAGES JJ: At the same time that I was looking at contemporary work and studying art history I was looking at film — going to Anthology Film Archives [in New York] and a lot of places that don't exist any more that were showing film in the 1960s and 70s.

Presenters are Mark Dean Johnson, professor of art at San Francisco State University and director of the Martin Wong Foundation, who also moderates; Julia Bryan - Wilson, professor of modern and contemporary art and director of the Arts Research Center at UC Berkeley, whose Fray: Art and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personally.

Okwui Okpokwasili «Poor People's TV Room» Museum of Contemporary Art Chicago 220 E Chicago Avenue Chicago OPENS: April 12 The Bessie Award — winning artist reflects on gender, identity, and history in this performance that blends original dance, song, film, and text.

Parallel to working on his own films, Richards draws inspiration from collaborations with other artists, his interactions with contemporary art and recent art history, and from curating film programmes and exhibitions.

All, in one way or another, deal with the following concerns: the contemporary history of Lebanon with particular emphasis on the wars in Lebanon between 1975 to 1991; the representation of traumatic events of collective historical dimensions; and the ways film, video, and photography function as documents of physical and psychological violence.

The research project aims to investigate the heritage of documentary practices in contemporary art in relation to the history of film, documentary photography, television and video art, as well as to situate these contemporary documentary practices within current cultural production.

An internationally renowned visual artist who has been showing in major museums of modern and contemporary art, and a distinguished thinker, Bracha L. Ettinger is also one of the world's leading theorists in the realm of art and philosophy of aesthetics, ethics, sexual difference and French psychoanalysis and feminism, whose writings have influenced film and literary thinking, queer studies, contemporary aesthetics and ethics, and art history.

Capitalism and its promise of a better life is explored through paintings on luxury fabrics whose patterns acquire a neo-classical painterly quality; Orientialism and a subtle critique of European values are explored in the films of his roadtrip to Pakistan and Afghanistan with shocking neutrality; and conceptual art is mocked in Potato House (1967) and paintings of absurd mathematical equations, while the series of self - portraits — Polke as astronaut, Polke as drug — confront the contemporary individual in the mire of history.

Ai Weiwei's works deals with Chinese history and contemporary society and includes physical artworks, social activities, curatorial projects, film, design and architecture.

For the first time in the US, these important video works spanning a 25 year history of collaborations between contemporary dance, movement, and visual art with film and video were shown.

It offers courses in painting, drawing, sculpture, film, video, and animation, as well as photography, film history and theory, studies of the built and natural environment, and contemporary art.

So far, his curators include Pierre Bal - Blanc, the director of Contemporary Art Center (CAC) Brétigny; Hendrik Folkerts, curator of performance, film, and discursive programs at the Stedelijk Museum in Amsterdam; Hila Peleg, the founder and artistic director of the Berlin Documentary Forum; Dieter Roelstraete, senior curator at the Museum of Contemporary Art Chicago; and Monika Szewczyk, visual arts program curator at the Reva and David Logan Center for the Arts, University of Chicago, where she also lectures in the departments of Visual Arts and Art History.

In addition to studio courses, the Program in Visual Arts offers three seminars in contemporary art and film practice and courses in film history and theory.

AW: One curiosity about contemporary art is that there is a terrific interest in the old languages and devices of painting, but generally in the work of photographers and film - makers — or artists using photography and film — but contemporary painting itself sometimes looks back to the history and sometimes doesn't.

This is followed by a chaired discussion with Declan Long (Lecturer, Art in the Contemporary World, NCAD) exploring how the artist utilises inherent qualities of film to reveal hidden histories and perceptions of a place and site.

Unlike earlier shows, where Waters focused on narrative collaged film stills and a fascination with cinematic history, he began to move towards the sculptural realm and the themes of celebrity and contemporary life, with increasing success.

The Africa series at Cinema Orion is a tribute to the masters of African film history and to the masterpieces of contemporary African cinema.

Using cinema in an expanded form to reactivate lost or forgotten histories, they create new modes of collective engagement with contemporary thought through the creation of feature films, exhibitions, sound and video installations, performances, event - works, radio shows and books.

New York - based art historian and gallerist, Sundaram Tagore's documentary film, The Poetics of Color: Natvar Bhavsar, uncovers forgotten history by tracing the roots of Asian artists» contributions to contemporary American art.

VES also offers lecture courses and seminars in film history and theory, studies of the built and natural environment, design and urbanism, and contemporary arts.

She beat competition from the other shortlisted artists: Dexter Dalwood, whose contemporary take on traditional history painting saw him an early bookies» favourite; Angela de la Cruz, whose mangled, dishevelled canvases place her somewhere between painter and sculptor; and the Otolith Group, whose work, often in film, encompasses curating as well as creating.

Lancaster Museum of Art and History (MOAH) houses a collection of post-war period and contemporary art in the areas of painting, sculpture, prints, drawings, photography, film, installations and new media.

2007 LA CASA ENCENDIDA, CENTRE FOR CONTEMPORARY ARTS screening - retrospective various works, every Tuesday in September 2007, Madrid CINEMATEXAS, Austin, Texas Return of the Black Tower THE HORSE HOSPITAL, Bloomsbury, London Return of the Black Tower screened at the Book Launch of Subversion — the definitive history of underground Cinema CUBE CINEMA Double Dummy & Return of the Black Tower screened as part of OMSK IMAGES 20TH INTERNATIONAL MEDIA FESTIVAL TORONTO, Because of the War NEW YORK UNDERGROUND FILM FESTIVAL, Anthology Film Archives, The Truth and the Pleasure ANN ARBOUR 23RD INTERNATIONAL FILM FESTIVAL screens Because of the War and Sharony!

Including film, wall paintings, ceramics, silkscreens (on mylar, plexiglass, steel, and canvas), Adam Pendleton: Becoming Imperceptible frames the artist's oeuvre as a complex dialogue between culture and system, a body of work invested in the perpetual cross-referencing of aesthetic and social histories,» states the Contemporary Arts Center.

Archives: Blk Art Group Research Project, African - Caribbean, Asian & African Art in Britain Archive (Chelsea College of Arts Library, University of the Arts), The June Givanni Pan African Cinema Archive (including films by Imruh Bakari, Ceddo, Amani Naphtali and Maybelle Peters), Making Histories Visible Archive (Centre of Contemporary Art at the University of Central Lancashire), The Stuart Hall Library, Iniva (Institute of International Visual Arts), London.

On loan from the Museum of Contemporary Art Chicago, Felix in Exile (1994) and History of the Main Complaint (1996) are the fifth and sixth works, respectively, in Kentridge's animated film series titled 9 Drawings for Projection, which address the history of South Africa's shift from apartheid to post-apartheid sHistory of the Main Complaint (1996) are the fifth and sixth works, respectively, in Kentridge's animated film series titled 9 Drawings for Projection, which address the history of South Africa's shift from apartheid to post-apartheid shistory of South Africa's shift from apartheid to post-apartheid society.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.

On loan from the Museum of Contemporary Art Chicago, Felix in Exile (1994) and History of the Main Complaint (1996) are the fifth and sixth works in the artist's animated film series 9 Drawings for Projection (1989 - 1994), which collectively explore the history of South Africa's shift from apartheid to post-apartheid sHistory of the Main Complaint (1996) are the fifth and sixth works in the artist's animated film series 9 Drawings for Projection (1989 - 1994), which collectively explore the history of South Africa's shift from apartheid to post-apartheid shistory of South Africa's shift from apartheid to post-apartheid society.

Drawing on both contemporary and historical texts, Ruscica's film deconstructs the idea of the travelogue itself as romanticised history, factual document and idealised experience Ruscica's main area of interest lies in examining -LSB-...]