Sentences with phrase «ideas of artists over»

Not exact matches

Though releasing music over the Internet is not a new idea (just go to any band's MySpace or Purevolume page), for an artist of the caliber and notoriety of Radiohead to forgo a record label in favor of doing it on their own is truly revolutionary.

Over the years, his critics have contended that Tarantino is less a creator than a repository, less an artist than a recycler of ideas and dialogue from Hollywood's past.

The idea behind this is that I never want my work to be coloured by any personal feelings I might develop for the artist over the course of a conversation — for good or for ill.

Presentation over a series of lessons that introduces students to illustration, a range of artists, researching, replication, annotations and developing their own ideas

He has been imitated, revered, and homaged endlessly over the years (check out the title sequence for the Spielberg movie Catch me if You Can for an idea) and it's not hyperbole to say that he's one of the most influential artists of the modern era.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

The GDC attracts over 23,000 attendees, and is the primary forum where programmers, artists, producers, game designers, audio professionals, business decision - makers and others involved in the development of interactive games gather to exchange ideas and shape the future of the industry.

On the other hand, if you're able to use your creative mind to offer somethingon fivrr that would be fun, easy, and related somehow to the work you really love to do (rather than something that feels trivial) then it could be a stream of income to test ideas, practice sketching out quirky concepts, and as Chris said above, «create value, relationships or a portfolio that will build over time», selling work on fivrr / or donating work to silent auctions for organizations you believe in could complement a proactive artist's other marketing efforts.

This exhibition covers a span of over four decades (c. 1929 — 70), including a total of some forty paintings, photographs by the artist, works on paper, and sculptures in order to explore the change and continuity in Still's ideas and pictorial forms.

The target for the new ARTISTS FOR ARTANGEL fund is # 2.5 m, giving Artangel the resources to nurture amazing ideas, back the boldest of visions and produce extraordinary new projects over the next decade.

«A significant element of my work is representing time and place through a merging of sculpture, painting, and photography; this idea was catalyzed in part by my trips to Marfa over the past several years,» says the artist.

In an expansive space, artists can explore new mediums and ideas over a period of one to five months.

Bringing together works by over 50 artists — from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia's leading practitioners — this is a one - of - a-kind salute to an idea that continues to define the very nature of contemporary art.Presented in association with Melbourne Festival

Painting in the genre of Abstract Expressionism, I feel a strong affinity for artists such as Joan Mitchell and Willem De Kooning, whose work also emphasizes action and emotion over ideas.

In 1969 he formed the artists» group General Idea with Felix Partz and Jorge Zontal; for the next 25 years they lived and worked together to produce the living artwork of their being together, undertaking over 100 solo exhibitions, and countless group shows and temporary public art projects.

The common goal of the final group exhibition leads to intensive dialogue about individual ideas and practices, and binds each artist temporarily into a group, leading to a long term network that exists even after the residency is over.

The tapestry is a working through of an idea, a wandering through of a memory; not the output of an artist attempting to resolve or reconcile, but simply entertain, over and over again.

When Mickalene Thomas was at Yale a little over a decade ago to get her MFA, she had already landed upon her subject matter: identity and representation of the self, channeled through the ideas of artists like Cindy Sherman and Adrian Piper as well as the outsize personae of figures like Mary J. Blige, Donna Summer, and Eartha Kitt.

There, under the tutelage of the artist Michael Craig - Martin, he realised that for the time being, at least, painting was over and that, in contemporary art, the idea was the be all and end all.

Contemporary ideas of domesticity are on trial in this group show, as artists like LaToya Ruby Frazier, Robert Gober, and Paulina Olowska examine how our interiors have become more commercial and political over the past century.

For Ongpin, the thrill is in the feeling of closeness to the artist, of «almost looking over his shoulder as he develops his ideas on paper».

«The idea is that a group exhibition of works by artists from all over invites more cross-fertilization and dialogue than individual gallery booths,» Inman says.

Showcasing over thirty contemporary artists based in Canada, Denmark, and The United States, the exhibition highlights the presence of characters in each artists» work and their function as a means to explore identity and ideas of beauty as a social commentary.

Emerging in late - 1960s Los Angeles, Ruppersberg was among that city's first generation of conceptual artists to espouse a working method that privileges ideas and process over conventional aesthetic objects.

This landmark traveling exhibition brings together roughly 70 works made over the course of some 40 years — including many of the artist's sketchbooks that have never been shown before — and will unfold chronologically, tracing Serra's ever - evolving ideas and methods since the 1970s.

Over the last 30 years, Blue Mountain Gallery has provided artists a gathering place of ideas where painters can communicate visually and verbally and find the support and inspiration of their peers as well as the art public.

In an expansive space, artists can explore new mediums and ideas over a period of one to three months.

And although the idea may seem counter-intuitive to those emotionally beholden to the old ideal of the cloistered genius flattered and enriched by virtue of shining talent alone, artists who think beyond their own careers, leave the confines of the studio, and contribute to the art community tend to have more rewarding art practices over the long haul.

By plunging visitors into a pictorial and sound environment, the exhibition presented a personal and original look back over the Fondation Cartier's history, made up of unexpected dialogues and connections between ideas, artists, and artworks.

«Based in Austin for over a decade, but originally from Ireland and Switzerland, the artists» idea of Texas — like those of most Europeans growing up in the 1970s and 1980s — was dependent on the cinematic imagery of now - classic films for which Texas was either subject or site,» writes the Swiss - born Schmuckli.

Whether looking over her shoulder to the more intimate Tefaf Spring, or forward to the much smaller first edition of Frieze Los Angeles 2019, her idea was to create interacting isles of visual stimulus informed by a cluster of new material (Frame), younger galleries (Focus) and underappreciated artists (Spotlight), so as to energize and broaden the experience of art.

Over the last 30 years, Blue Mountain Gallery has provided artists a gathering place of ideas where painters can communicate visually and verbally and find the support and inspiration of their peers.

Conceptual art, in which ideas take precedence over material forms, offered artists of the 1960s and 1970s a critical framework for exploring social issues.

In diverse ways, the six artists invited to present solo projects reconsider objects and concepts from art history, showing how works and ideas transform over time and in front of different audiences.

Critic Samito Jalbuena has written that the artist's public use of language and ideas often creates shocking juxtapositions — commenting on sexual identity and gender relations («Sex Differences Are Here To Stay») on an unassuming New York movie theater marquee, for example — and sometimes extends to flights of formal outrage (such as «Abuse Of Power Comes As No Surprise» in lights over Times Squareof language and ideas often creates shocking juxtapositions — commenting on sexual identity and gender relations («Sex Differences Are Here To Stay») on an unassuming New York movie theater marquee, for example — and sometimes extends to flights of formal outrage (such as «Abuse Of Power Comes As No Surprise» in lights over Times Squareof formal outrage (such as «Abuse Of Power Comes As No Surprise» in lights over Times SquareOf Power Comes As No Surprise» in lights over Times Square).

From her investigation into the notion of artificial beauty to references of futuristic architectural ideas from the early 20th century, Korean artist Lee Bul has, over the past two decades, garnered international renown with a diverse and intellectually challenging body of work that includes sculptures, performances and installations, while always maintaining an intriguing relationship with modernist ideals.

To introduce «False Flags» — and our accompanying series of commissioned essays, interviews, reviews, and artist projects — Simblist shares some of the ideas addressed in the show and connects the artworks on view at X with New Orleans» own debates over contested lands and cultural ownership.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

AG: I think a little of both because American artists were — before the advent of the war — with many of these immigrants coming over here bringing the European ideas directly to the American shores.

For Alvarez, place is an intersection of disparate stories and ideas, both personal and artistic, as suggested by her recent exhibition Here at the Chicago Cultural Center, guest curated by Terry R. Myers, the first major examination of the artist's practice that spans over forty years.

The thought of un-erasing a painted - over LeWitt is something of its own conceptual riddle, given that the artist placed the weight for his wall drawings in the ideas — in the form of written instructions — not their physical execution.

The resulting collection of interviews provides a rare insight into how the work and working method of one of the most prominent artists of a generation has developed over time, and uncovers the ideas, influences and collaborations that lie behind his multi-layered and multimedia creative output.

With mixed - media paintings, Thornton examines the textural possibilities of spray and acrylic paint, while, on the other hand, with collaged found objects the artist tries to span over the restrictions of canvas and transcend the ideas in the third dimension.

Over its first decade, Art & Idea's venues have hosted solo shows from more than 140 artists including Vito Acconci, Maurizio Cattelan, Paul McCarthy, Carolee Schneemann, Joep Van Leishout and Bill Viola, and public art projects including Acconci's Mur Island, the centerpiece of Graz 2003 / Culture Capital of Europe.

That show marked a shift from the idea of a constructivist, analytical and technological Colombo, attributed to him over the years by various Italian critics, to one that placed more emphasis on his dadaist - surrealist links, which were formulated by the artist himself as a part of a thesis on Max Ernst and Dadaism, completed as part of his diploma at Milan's Accademia di Brera in 1959.

During her residency at CCS Bard, Christel will be working on her research concerning questions of art and curating as alternative sites for knowledge production, as well as teaching a series of seminars in which she will zoom in on the strategies artists and cultural producers have applied over the years to counter or confound established ideas and systems of knowledge.

The New York - based non-profit has worked with over 2,000 artists to produce more than 335 groundbreaking public art projects that have ignited the public's imagination, explored ideas that shape society, and engaged millions of people around the globe.

The exhibition explores «The Presence of Form» — an aesthetic idea that links the teaching philosophies of distinct individuals who have had a presence over the School and influenced generations of artists.

There are references to pop culture characters such as Mickey Mouse, with the artist toying over the idea of false realities and choosing to live in an idealistic world.

In addition to inviting contemporary artists to be involved in the project, historical representations of atmospheric conditions will be exhibited that illustrate how the idea of «air» has changed quite dramatically over the last few centuries.