If you've been paying attention to the career trajectory of director Todd Phillips, you've probably noticed a certain pattern in his work — with his early movies being much lighter than
his darker more recent work.
Not exact matches
In my view, this is unfortunate, not because I dislike his
recent films, but
more because I appreciate some of the
darker themes of the earlier
work.
His coming - of - age drama «The Scouting Book For Boys» is something of a Playlist favorite; wrenching and
dark and beautifully made, it sadly never got a U.S. release, despite being one of the better
recent British films, but it's led to a lot
more movie
work.
Grant Kirkhope has since been nominated for several awards in composition for his
more recent work on Kingdoms of Amalur: Reckoning, which has gained him some recognition in the film industry, though many retro game fans still recognize him today as one of the geniuses behind games like Banjo - Kazooie, Perfect
Dark, Viva Pinata and GoldenEye 007.
He's been with Capcom since joining them in 1995 and even stuck with them through the
darkest ages of fighting games to make Capcom Fighting Evolution, and in
more recent years
worked on Tatsunoko vs Capcom and also the Marvel Vs Capcom 3 series.
Kossoff's
more recent work is lighter in subject matter and palette, abandoning the
dark urban grays and browns for a brighter range of colors.
He has shown
dark paintings in darkened rooms, created theatrical environments — like the Tate's The Upper Room or his British Pavilion at the Venice Biennale, and his
more recent exhibition at New York's New Museum), and created
work for the Royal Opera House, to extend the way we might approach and look at his
work.
Natural Motion brings together well - known
works by Gabriel Orozco (born 1962), such as
Dark Wave (an enormous suspended and decorated whale skeleton), alongside examples of
more recent work, such as carved river stones, plus a comprehensive presentation of his ongoing
work in terracotta.
The sway between a structured, observational approach to image making and the free - form, improvisational gestures of his interventions is very much at the crux of Divola's practice and can be traced from his earliest foundational
work of the 1970's to
more recent bodies of
work such as Dogs Chasing My Car in the Desert (1996 - 2001), where Divola documents the dogs that chased his car while
working in the Southern California desert; As Far as I Could Get (1996/1997), where Divola sets up a camera and runs away from it during a given exposure; and
Dark Star (2008), where his melding of intervention and observation continues to be in the foreground in large - format, color
work made during the last decade.»
Throughout the exhibition, his minimalist compositions change in color and tone; his earlier
works from the years following the death of his son harbor much
darker and colder tones, whereas his
more recent works appear to have a brighter disposition.
The relationship between a structured, observational approach to image making and improvisational gesture is at the crux of Divola's practice and can be traced from his earliest
work of the 1970's to the
more recent bodies of
work that are on view in this exhibition: Dogs Chasing My Car in the Desert (1996 - 1998) and
Dark Star (2008).