Sentences with phrase «images of art discussed»

See images of art discussed on the program here.

See images of art discussed in this week's show here.

Not exact matches

New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»

Visual artist Sophie Clements joins her longtime sound design / music collaborator Jo Wills to discuss their site - specific piece Attempting to Delay the Inevitable, an installation at the Dolby Gallery; the role of sound in her visual art pieces; why computer - graphics images would never work in her art; and how sound and image collaborate to create wonder, awe, and seduction in the audience.

Our panel of self - publishing experts will discuss the process of self - publishing your book, including how to know if / when your manuscript is ready, front and back matter, cover art / fonts / copyrighted images, determining keywords and placement for your genre, what self - publishing platforms are available, potential costs and revenue, being a «publisher,» where to look for help, various types of marketing, budgeting, timelines pre-and-post release, and much, much more.

January 28th at noon, they will share some of these images and discuss the passion, creativity and resourcefulness of unlikely kids inventing an art form destined to spread worldwide and spawn the present - day street art movement.

A Big Hairy Deal Art Exhibit celebrates, seduces, and plays dress - up to discuss issues of gender, image identity, and beauty.

Installation shot of Denise Green's paintings at the Whitney Museum of American Art, New York's 1979 exhibition, «New Image Painting» discussed in this interview.

When discussing art depicting a maritime subject, romantic images of a large boat with billowing sails, breaking through white - capped waves and being battered by the ocean breeze, may cross one's mind.

, discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists underImage, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists underimage; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing the different roles that artists undertake.

Following our conversation with Edward Winkleman and Murat Orozobekov, the co-founders of Moving Image, we discussed with some of the participants about the relevance of the Moving Image art fair and the uniqueness of video as an artistic medium: with Paula Alzugaray (independent curator, São Paulo, Brazil) and Sabine Brunckhorst (collector, Hamburg, Germany) about their perspective on the fair from a curator's and a collector's perspective, and with gallerists Serra Pradhan (Marianne Boesky Gallery, New York, NY, USA), Catharine Clark (Catharine Clark Gallery, San Francisco, CA, USA), Barbara Polla (Galerie Analix Forever, Paris, France), Catlin Moore (Mark Moore Gallery, Culver City, CA, USA), Wagner Lungov (CENTRAL Galeria de Arte, São Paulo, Brazil), Nancy Atakan (5533, Istanbul, Turkey), Lise Li (Vanguard Gallery, Shanghai, China), Kelani Nichole (TRANSFER, Brooklyn, NY, USA), Asli Sumer -LRB-.

Malton Art Gallery is featuring the Big Red Machine baseball images of photographer Sarge Marsh and he's with Jane Durrell along with gallery owner Sylvia Rombis to discuss this four - day show entitled All Star Vision.

Israel and Daignault will discuss digital image archives, the online experience of art, subversive politics in art making, the complication of the index, the fascism of algorithms, Felix Gonzalez - Torres, Vietnam, the death of the object, and art approaching the singularity.

For this special presentation, Aitken and Vergne discuss Aitken's uniquely immersive aesthetic; the work's relationship to 20th - century avant - garde art, cinema, and experimental music; the nature of creativity in the 21st century; the possibilities for artmaking within our ever - mobile, ever - changing, image - based contemporary world; and other ideas central to the artist and the exhibition.

In curator Omar Kholeif's 2014 book You Are Here: Art After the Internet, U.S. artist Brad Troemel discusses what he calls «Art After Social Media,» asserting that «since the advent of photography, more people view images of physical artworks in magazines, books, and videos than in person.»

Basically, my thoughts after reading recent comments are - if the images genuinely do «represent major proponents of the genre» (and I'm happy to defer to your superior knowledge here - my knowledge of the history of art extends to winning pub quizzes and backing up my arguments in General Studies lessons) then why are the subgenres not discussed in the prose of the article?

Inspired by Tang Chang's combinations of gestural mark making and writing, artist Oscar Murillo and Smart Museum Curator of Global Contemporary Art Orianna Cacchione discuss the relationship of text, image, and abstraction in modern and contemporary aArt Orianna Cacchione discuss the relationship of text, image, and abstraction in modern and contemporary artart.

Made in Arts London has invited a number of key professionals — specialising in the creation, commissioning, promotion and sale of new media, moving image, performance and installation — to discuss the topic from a number of perspectives; the artist, the curator, the gallerist and the consultant.

Her hyper - realistic images fascinate and show how all the elements of art we discussed in the introduction of this text depending on the preference and the character of the authors can range from childlike illustrations, sketches, paintings, to the hyper - reality that stares back in the face.

I recently sat down with Ted at his home in Dallas where we discussed the veracity of the photographic image, pictorialism, the sublime, the former grandeur of Valley View Mall and the current state of arts education.

The second issue, concerning «authenticity» and «the black experience» is generally discussed in relation to the Black Arts movement and its preference for images that contested the pervasive vilification, ridicule, and disparagement of African Americans in US popular culture.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woart history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his woArt in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Pedro Silmon discusses SKG's upcoming exhibition, Day by Day: 1968 and how the 366 press images being featured resemble the pop art of the 60s.

Brown experimented freely with a range of styles, and her art has been discussed in relationship to abstract expressionism, Bay Area figuration, and new image painting.

Coller, an independent curator, will discuss several works from «Mirrored Images» and explore realism in the history of art.

IMAGES: Artists discuss their commissioned works during Oct. 20, 2017, «Jacob Lawrence: Lines of Influence exhibition tour, SCAD Museum of Art.

More than a decade later, he discussed the project and the significance of the resulting images for his «Glenn Ligon: America» retrospective at the Whitney Museum of Art:

But, nevertheless, the image lacks that sense of aura that Walter Benjamin discusses in his essay «The Work of Art in the Mechanical Age of Reproduction,» much like that of Sherrie Levine's After Walker Evans photographs.

Alongside more than 100 color reproductions, Jorn & Pollock: Revolutionary Roads includes the essays «Image Revolutions - Abstract Expressionism and What Looks Like It in Jorn and Pollock» by Anders Kold; «In the Shadow of Picasso: Asger Jorn and Jackson Pollock» by British art historian Jeremy Lewison; «Sounds in the Grass» by Axel Heil; and «Simpler Evolutions» by Courtney Martin, which discusses the British critic Lawrence Alloway's comparisons of the two artists.

At the end of the workshop participants will be able to: • Explain the history and theory of expressive therapy and how it can used in a play therapy setting • Assess the use of art, drama, music, writing, puppetry and other expressive modalities in play therapy • Demonstrate at least 5 creative interventions that can be used in play therapy • Explain the role of imagination and creativity in play therapy • Discuss the limits of expressive therapy in a play therapy setting • Demonstrate how expressing inner feelings by creating outward images helps in the healing process in play therapy