Sentences with phrase «first theatrical work»

The exhibition will feature the Los Angeles premiere of Until, Until, Until..., the artist's first theatrical work, which was commissioned for the 2015 Performa Biennial in New York.

Not exact matches

I mean, the distributor of this film told me that all of the work we have done — the film festivals, all the press, the public appearances, the theatrical release — it all has one goal, which is to be No. 1 VOD on the first VOD weekend, because there is so much product out there on demand that if you're not in the top five it doesn't matter anymore because people can't get through it all.

Dissatisfied with a mere taste of the theatrical arts and eager to extend acting into a full - time passion, Eigenberg subsequently moved to New York and attended the American Academy of Dramatic Arts, working odd jobs on the side (construction et al.) to put himself through school.Scattered roles followed, including a guest appearance on The Cosby Show and a bit part in the awful 1989 generation - gap comedy Rude Awakening (co-starring Cheech Marin and Eric Roberts), but Sex and the City (which Eigenberg auditioned for out of innumerable hopefuls) represented the actor's first huge break.

It was the first theatrical distribution company dedicated to bringing international art - house films to U.S. audiences, including the work of Michelangelo Antonioni, Sergei Eisenstein, Ingmar Bergman, Federico Fellini, Akira Kurosawa, François Truffaut, and Yasujiro Ozu.

More consciously seeking to recreate an old Hollywood vibe is the latest from Peter Bogdanovich, the refugee from the first golden age of cinephile directors who has found film work increasingly hard to find in recent years (this is his first theatrical fiction feature since 2001's The Cat's Meow).

Its frantic entrances and exits — the perpetually harried Hélène more than once needlessly announces that she will «go first» — prefigure those in Resnais's several late adaptations of Alan Ayckbourn's comedies, which the British playwright greatly admires, once commenting that the director «works in a very theatrical way.»

The 13th is the first - ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.

During the interview, Phillips and screenwriter Craig Mazin talked about his first cut versus the theatrical release, deleted scenes, what can fans expect on the Blu - ray, what it's like working for Warner Bros. and the creative freedom he's allowed, the writing process, how the story changed, film versus digital, thoughts on doing a 3D comedy, and more.

They reflect on how they first came to the studio (Walt took notice of the catchy tunes they wrote for Annette Funicello) and how they worked on The Parent Trap, their first theatrical film for Disney.

While that could be seen as nothing more than a clever marketing ploy, Peter Capaldi's first adventure in the TARDIS is memorable for a number of reasons (including a limited theatrical release)-- enough that the release of Doctor Who: Deep Breath works as a standalone.

Works central to this exhibition include the theatrical setting A Fashionable Marriage, through which visitors can walk; 40 small paintings comprising Inside the Invisible, seen for the first time in the UK; and The Feast Wagons, an installation of handcarts.

On view from December 1, 2010 — February 13, 2011, the exhibition Jonathan Meese: Sculpture focuses on Meese's three - dimensional work, including his first ceramic talisman created when he was 15, small assemblages and dioramas from the beginning of his career that have never been shown before, massive bronze sculptures, recent large - scale ceramics, and models and set designs for theatrical and operatic productions.

Like the monumental backdrop paintings first shown in the exhibition «Left Behind» in 2010 at CAPC, Bordeaux, these new works are painted over used theatrical scenic backdrops bought by the artist.

In his first solo show since the stunning three - hour theatrical work The Humans (2014), Singh offers «The School for Objects Criticized,» a witty light - and - sound installation in which a slinky, an abstract sculpture, and a bottle of bleach are among seven protagonists that critique the artist's latest exhibition; the work takes cues from Molière's The School for Wives Criticized (1663).

It features: a series of black - and - white photographs of elderly actors by Liu Zheng that play with conventions of ethnographic and opera photography; two videos by Chen Qiulin that make use of traditional opera characters to respond to changes wrought by the Three Gorges Dam; The Forbidden City (Zijincheng) by Liu Wei, a lyrical video of theatrical «glove puppets» (budai kuilei) shown publicly for the first time; and videos by Cui Xiuwen that connect to opera in more oblique ways, through performative elements and symbolic props, gestures, and costumes.

Claes Oldenburg helped manage the gallery, and in the winter of 1960 he and Dine created what would become a legendary work, an immersive environment comprising the first iteration of Oldenburg's The Street (1960) and a new work by Dine called The House (1960), a phone - booth - sized house made from leftover theatrical backdrops that Dine found in the church and covered with an exuberance of found materials, drawings, and words.

This program will focus on the development of Syms's cinematic work, culminating in the debut theatrical presentation of her first feature film, Incense Sweaters & Ice (2017), the centerpiece of the Projects 106 installation.

The first major United States showing of this contemporary Belgian painter, known for his complex, theatrical but often figurative works, includes 50 paintings, 40 drawings and five films.

Piotr Uklański had a solo show at the Whitney, in 2007, presenting his first film, Summer Love (a booze and blood - soaked revisionist Western); Uklański's work in 2010 is a theatrical installation involving textiles.

ALEXANDRA POSEN»S visual art, which first begun as a fluid continuation of her theatrical work, is now the heart of her practice.

I experienced Slug first as a nod to the theatrical, given that the last project we worked on together, The Artist Theater Program, involved not only similar racks to move the props on stage but also a presentation of artworks sequentially in the progressive time of a play's scenes.

El Lissitzky: The Artist and the State brings to Ireland for the first time an extraordinary body of El Lissitzky works generously lent to IMMA by the Van Abbemuseum, Eindhoven, The Netherlands, shown alongside archival material related to Alice Milligan and Maud Gonne's theatrical tableaux, and newly commissioned and recent works by Rossella Biscotti (Italy 1978), Núria Güell (Spain 1981), Sarah Pierce (USA 1968) and Hito Steyerl (Germany 1966).

His work has been presented at Aargauer Kunsthaus, Switzerland (Cinema mon amour, 2017); Hayward Gallery, London (off - site exhibition The Infinite Mix: Sound and Image in Contemporary Video, 2016 - 2017); Audain Art Museum, Whistler (Intersections: Contemporary Artist Films, 2016); The Institute of Contemporary Art at the University of Pennsylvania, Philadelphia (The Freedom Principle: Experiments in Art and Music, 1965 to Now, 2016); Museum der Moderne Salzburg, Austria (Art / Histories, 2014); Bildmuseet, Umeå, Sweden (Theatrical Fields, 2013); Museum of Contemporary Art, Chicago (Think First, Shoot Later: Photography from the MCA Collection and The Way of the Shovel: Art as Archaeology, both 2013); The Museum of Modern Art, New York (XL: 19 New Acquisitions in Photography, 2013); Museum of Contemporary Art, Los Angeles, (Blues for Smoke, 2012, travelling to Whitney Museum of American Art, New York and Wexner Center for the Arts, Columbus, Ohio); Walker Art Center, Minneapolis (The Living Years: Art after 1989, 2012); ZKM / Museum für Neue Kunst, Karlsruhe (Fast Forward 2: The Power of Motion, 2010); and the Solomon R. Guggenheim Museum, New York (Haunted: Contemporary Photography / Video / Performance, 2010).