Sentences with phrase «defined by the artwork»

The players» experience of the game world is defined by the artwork.

Not exact matches

Crisp, light - coloured walls, elegant crown moulding, and complementary patterned carpeting define the indoor space, creating a neutral palette for modern artwork and a smooth dark wood table accompanied by a chair and modern lamp.

The interior designs can be defined as tropical chic, ruled by local timber, elegant white fabrics and ethic artwork.

This spacious, comfortable suite is defined by original artwork, an open living space, wet bar, 55» LED TV, Bluetooth speakers and multiple media outlets.

Finally, Dragon's Crown is defined not just by its beat»em up combat, its RPG elements, or its beautiful artwork, but by every element of the game coming together cohesively.

Especially for artists like myself that do not fit into any particular box that may have been defined by the fine art world, the Internet has become a necessity in order to survive and make a living from my artwork due to the fan base I've managed to have gained.»

Odita's work is included in Vitamin P2: New Perspectives in Painting (2011), and Defining Contemporary Art: 25 Years in 200 Pivotal Artworks (2011), both published by Phaidon Press books.

Gold's artwork is defined by brilliant color and strong directional shapes.

For the purpose of consideration, «sculpture» refers to any artwork predominantly defined — but not limited by — its three - dimensionality made by carving, modelling, casting or constructing; or any artwork including installation, site - specificity, and which may also include some two - dimensional work, temporal / video - based work, sound - based and / or performance work.

The book is a multifarious conversation about the value of artworks and the labor and bodies that make them, especially as defined by institutions with whom artists have often had fraught relationships.

Migration and Identity, a new exhibition of textile and installation artwork by TeaYoun Kim - Kassor explores the inextricable connection between â $ œWho am I?â $ and â $ œWhere am I?â $ that defines us as individuals.

This Frank Stella artwork is a geometric wonder, defined by circular and curvilinear shapes and pairs of horizontal and vertical lines that intersect at the right angles, filled with almost psychedelic color.

Artist interventions and on - going relational artworks by Ulrike Müller, Eduardo Padilha, Gareth Long, Mary Heilmann, William McKeown, and Jasmina Cibic will define intermediary, and transitional sites of expectation.

The ultimate trope put forth is not defined by the image of the artist or the creation of any one artwork, but in the hedonistic witnessing of art's demise.

This wraparound wall text «Untitled (Portrait of Julie Ault)» (1991) really drives home the point about collaboration; Ault is defined here by a strand of events and artworks, some known to everybody, and others that sound like names of people she knew or maybe locations of trips she took.

By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Through contemporary artworks, the exhibition will explore the complexity of the myth of the hero, the hero's relationship to the monster, how a monster or hero is often defined by perception, and why, for many, comic - book mythologies are becoming the new morality of the 21st century.

This understanding of Cubist artworks was put forward by the critic Clement Greenberg who defined the images as constructions of various parts that both represent and are new understandings of reality.

These positions have come to define our present age where artworks are rapidly converted to image data circulating globally at high speeds and the success of an artwork is judged by its ability to saturate social networks; where meaningful engagement has been switched for maximum exposure.

These artworks are defined by Bonalumi as estroflessioni (extroflections) and are considered as truly object - paintings, due to the three - dimensional relief of the surface, achieved through the stretch of elastic canvases in particular looms.

The works in this show are part of The New Aesthetic, coined by James Bridle and this exhibition presents artwork that is defined by or influenced by computer technology's increasing role in daily life.

In tandem, the artworks in Liminal Space engage hard truths of a country defined by constant departure and deemed «a disappearing nation.»

That same year, the museum's nationally influential traveling exhibition, Bearing Witness: Contemporary Works by African American Women Artists, inspired the staff to define its mission: The Spelman College Museum of Fine Art is the only institution in the nation that specifically highlights artwork by and about women of the African Diaspora.

Curated by Christine Y. Kim, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA) and co-founder of the Los Angeles Nomadic Division (LAND), the sector expanded with more artworks than ever before, while at the same time being focused within a strongly defined exhibition area.

Attention to Detail January 12 - February 13, 2019 This juried exhibition will feature artworks that are predominately defined by the details of their composition: Artworks that are either marked by a density of detail or intricacy, or by details presented in isolation or contrast to surrounding elements — all works where significance, meaning or impact is achieved principally in or throughartworks that are predominately defined by the details of their composition: Artworks that are either marked by a density of detail or intricacy, or by details presented in isolation or contrast to surrounding elements — all works where significance, meaning or impact is achieved principally in or throughArtworks that are either marked by a density of detail or intricacy, or by details presented in isolation or contrast to surrounding elements — all works where significance, meaning or impact is achieved principally in or through detail.

The selection of artworks and the structure of the exhibition were defined by Glenn D. Lowry and Quentin Bajac, with the support of the various curatorial departments of the Museum.

«Degenerate art» was defined by the Nazi regime as artwork that was not in line with the National Socialists» ideas of beauty.

This is the definition adhered to by most museums when defining their collections of contemporary artworks.

Defined by its host city and region, each exhibition is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition.

Third were the thematic issues — Issue 2.6 / Food and Issue 2.15 / Performance: The Body Politic — and the thematic features that unfolded over the course of the year: Bruno Fazzolari's conversation series investigating abstraction and the terms on which it is defined or negotiated in contemporary artistic practice; Elyse Mallouk's Landfill series, which triangulates with a print journal, quarterly subscription, and website, all of which archive and redistribute the materials produced by socially engaged artworks; and Zachary Royer Scholz's series about the historical and contemporary economic, political, technological, and cultural factors that shape the visual arts in the Bay Area and its possibilities for the future.

The «nonassisted» ready - mades like «Porte - bouteilles,» now recognized as among the most influential artworks of the 20th century, were defined by André Breton in his 1938 book «Dictionnaire abrégé du surréalisme» (The Abridged Dictionary of Surrealism) as an «ordinary object promoted to the dignity of an art object by the mere choice of the artist.»

The show included pieces from 17 artists who, in their refusal to allow the viewers to define or even meter time by artworks, reflect a singular approach that characterizes our cultural moment at the beginning of a new millennium.

Truly, the architecture is artwork, including an ornate 13 - foot tin ceiling, original pine floors and high beadboard paneling that helps define the 40 - by - 18 - foot space.