Sentences with phrase «few artists feel»

More than a few artists feel the attraction, and this half will let them have their say.

He did, however, go out of his way to burnish the reputations of a few artists he felt had fallen into undeserved eclipse.

Not exact matches

Dirty Computer champions the confluence of an attractive production and a socio - political writing — two things that most artists have been trying to pull off; Less succeeded, and Dirty Computer is one of the few that feels triumphant and earnest.

I was talking more about the start up costs of finding a great editor, proofreader (s), cover artist, and formatter (for those technically challenged like me:)-RRB- I also felt that I needed to take a few writing workshops before I published and that all does cost a bit.

- dev starts with rough 3D models of a stage from the level directo - includes wireframe sketch of the sand - surfing section of the Jakku level - the team will open up the level into the game's engine and play it - that early concept is transformed with their 2D artists - artists can turn out images that capture the essence of what a level might look or feel like in a couple of days - might take six weeks to do a final pass on a level - feedback from designers and other members of the development team comes in every few days - once sketches are approved, the level is passed along to the environment artists - their job includes building the props and assets that fill levels - after the level is «built» Pick takes a look to ensure that it looks good and is consistent to the game as a whole - levels get played hundreds of time by the game's completion

I can think of a few other archetypes that seem more common in Eastern games: martial artists, archers without pets, gunslingers... Again, this may simply be a different set of cultural tropes, and perhaps from the perspective of someone in Asia Western games feel like they have better class choices, but I enjoy the variety.

Many people feel the calling to become artists, but only a few actually follow through on that calling — so why did you do it?

This means that unless the gallery forks over the name and contact info of the client — and very, very few do because they feel they'll be cut out of the next transaction — you as the artist loses the vital ability to keep in touch with that client!

I am just feeling on the verge of another breakthrough to a new level as an artist as I have recently hit a few goals I had set for myself.

Enrique Juncosa, former curator of the Irish Museum of Modern Art and Miquel Barceló's solo exhibition at the Venice Biennale, describes Barceló as «one of the few contemporary artists who feels comfortable working in a rural idiom.

While the exhibition emphasizes Hofmann's drawings from the 1930s and»40s, there are a few highly suggestive late works in the exhibition, particularly several untitled pieces from 1961 in which the artist contrasts a few seemingly carefree drips and spatters of richly hued oil paint with delicate felt - marker traceries.

Most artists made sales, several sold out their art, many got into museum and gallery shows, a few got gallery representation and in general, most told us that they felt like the entire endeavor was worth the cost and the effort.

Sometimes I think Yayoi Kusama might be the greatest artist to come out of the 1960s and one of the few, thanks in part to her long life, still making work that feels of the moment.

Over the past few years, relative to a series of studio visits with artists working in various parts of China, I have felt increasingly compelled to reflect on the development of ink painting.

Between works displayed on cellphones or vintage game consoles, books, flat screens, projections, gifs, slide projects, a custom carpet job, wallpaper, a sculpture here and there, a few items from each artists» clothing line, and a single repeated verse from a generic pop song fading in and out of the exhibition space, I do not feel particularly set - up to pay close attention to anything.

Among an ever expanding (and as Karen Barad might say, «entangled») list, I am inspired by the complex and contradictory city I live in (the city of Chicago) and the incredible community of hard working, sincere, talented artists who I am surround by and have the privilege of working alongside and in collaboration with every day (too many and to diverse to name individually here) / / by mentors A. Laurie Palmer and Claire Pentecost and Anne Wilson and Ben Nicholson / / by Simon Starling and Andrea Zittel and Mark Dion and Sarah Sze and Phoebe Wasburn and Mierele Laderman Ukeles and Joseph Beuys and Eva Hesse and Hans Haacke and Robert Smithson / / by writers and philosophers Karen Barad and Jane Bennett and Rebecca Solnit and Italo Calvino and Steward Brand and the contributors to The Whole Earth Catalog (of which my father gave me his copies) and Ken Issacs and Carl Sagan and Neil deGrasse Tyson and William Cronon and Bruno Latour and Deluze and Guttari and Jack Burnham / / by ideas of radical intimacy and transformation and ephemerality and experimentation and growth and agency and mobility and nomadicism and balance and maintenance and survival and change and subjectivity and hylozoism and living structures / / by mycelium and soil and terracotta and honey and mead and wild yeast and beeswax and fat and felt and salt and sulfur and bismuth and meteorites and microbes and algae and oil and carbon and tar and water and lightening and electricity and oak and maple / / by exploration and navigation and «the Age of Wonder» and the Mir Space Station and the Deep Tunnel Project / / by Lake Michigan and the Chicago River and waterways and canals and oceans and puddles... to name a few.

To me that period of her work was on the same level as Agnes Martin; the elements of painting were reduced down to a few essentials so that the artist could convey the most delicate of feelings in the most economical way possible.

The work that a few installation artists were doing with tape attracted me to it and I felt that there could be more to this medium as a fine art.

Of course, there are a few artists that have been with the gallery who have been loosely School of New York, but did you feel at the time that you opened the gallery that there was a reaction against Abstract Expressionism?

I was not the only woman or artist of color in the class; there were a few of us, so it felt particularly egregious.

The Guggenheim retrospective shows that Kelly is one of a few artists working today who can make us feel that abstract painting has a future as something more than a hollow 20th century convention.

When texting, words alone seldom seem adequate when it comes to expressing «tears of joy», «grimacing», or «thumbs up» (to name a few of the feelings the artist quotes from the SMS lexicon).

No artist before Picasso put so much of himself on canvas; few since have built in so many spatial booby traps, ambiguous feelings or elements of rebellion.

We went to one of them and there was the same feeling about it as with my shows that, say the American expatriates came, a few French artists who felt friendly toward the American artists came.

We can't really speak for our artists and what they may or may not have felt after a show but a few that felt big for us were Sophia Flood's «POOLS» in 2014, Martha Mysko's amazing 2015 installation «War of the Roses,» and Darren Tesar's 2016 exhibition «bar - mouthing.»

In seeking to explain why so few women gain the success as artists afforded their male peers, Thatcher concentrates on the restrictive pressures facing women: «Women... express anxiety at the prospect of having children, feeling that they must avoid visible obstacles to their career progression in a world in which one must appear continually available for residencies, commissions or even just networking.»

Simultaneously, the artist also presents Phasma (2017), a series of new drawings and poems, created in Japan these last few months, and dealing with the feeling of suicide, life struggle and ephemerality.

IMMA Director, Enrique Juncosa, the curator of the exhibition and a long - time friend of the artist, describes Barceló as «one of the few contemporary artists who feels comfortable working in a rural idiom.

The appetite for visual stimulation in our contemporary culture — precipitated by internet technology and globalization that has produced infinite numbers of artists of all sorts in the last decade or two, while disempowering the monopoly of the few in mainstream media by giving rise to endless writers and critics who feel an urgent need to respond to such vast production — has paid greater attention to its temporal condition than any art of the past; I would argue that in the end it's the great work of art and thoughtful writing that compels multiple viewings and readings, hence rendering both immortal.

Lee worked as a photojournalist for a few years after receiving a master's degree, but «by the time the [Lonely Cabin] project was done, I felt strongly that I wanted to be an artist instead of being a photojournalist,» she has said.

One of the problems is that when works like Heilmanns receive praise for their wit and ingenuity, it downgrades the expectations and ambitions of other abstract artists; so that now, any number of painters think that slapping a few lines and shapes around on a canvas, in a manner that vaguely represents something or other — place, memory, feeling, whatever — constitutes an abstract painting, in which it is the very ambiguity of the work which constituting the «abstract» bit.

Johnson was one of the few artists that was attuned to the dismay that everyone was feeling during the violent and schizophrenic time, the sense that it could all come crashing down.