Sentences with phrase «interested in an art piece»

Learning more is necessary for me to be interested in an art piece — if I know the parameters of the conversation, I'm usually bored.

Not exact matches

What might your best stock holding, a piece of real estate, shares in a privately held company, interests in private equity, venture or hedge funds, fine art collectibles, and bitcoin have in common?

Bottle design itself was new, but something that I'd always found interesting; as a street artist, being able to create a piece that can be held in your hand as a tangible, 3D piece of art, is a very different and satisfying experience.

Baking is a gathering of interesting materials, a mixed medium art piece of sorts, that ends in a cake instead of a canvas.

If you're interested in one of these pieces or in the artist who created it, you should contact the art department by email and we'll pass your request along to the artist.

At Art Basel those in attendance are just as interesting as the art itself, collectors discussing 5 million dollar pieces as if it is an order for dinnArt Basel those in attendance are just as interesting as the art itself, collectors discussing 5 million dollar pieces as if it is an order for dinnart itself, collectors discussing 5 million dollar pieces as if it is an order for dinner.

I linked some more «interesting pieces» that do not require much fussing, as they are just pieces of art in themselves.

His primary interest seems to be that of all «generals in the arts,» to wow us with action set pieces garnished with bits of faux - profundity and Cliff's Notes historicity.

It's an interesting historical piece, showing a side of civilian life not usually shown in wartime era films, with a theme that art can help the war effort with morale and some choice escapism from the harrowing events of the day.

Of particular interest is a scene in which Max puts on a performance art piece that expresses his feelings on his country and the way they handled the war effort.

Fantastic Fest caught wind of an interesting piece of art on display at the ongoing EFM in Berlin.

If you're a self - pub author like I am, you're in this for the long haul, so though I haven't seen financial reward since the trailer, I'm trusting that this piece of art will remain out there, garnering interest and faith from readers who don't know me or my book but might be willing to buy thanks to the silver screen.

«The Casa has some very interesting pieces in its art collection,» said Travis.

Inside the church features interesting pieces of arts and designs that truly defines its uniqueness the many churches in Mindanao.

In fact, there are lots of interesting pieces of art to be discovered throughout Murillo's interior.

Whether you are interested in making music, creating characters, animation, level design, programming or art, Dreams gives you a fun way to do it without having to put hundreds of hours into learning how to use a piece of professional software like Maya 3D or Unity or GarageBand.

However, Nico can not enter the art gallery as the investigator's guard has been instructed to not allow anyone in; when you figure out a rather amusing way past the guard, you will find that the investigator is only interested in blood related evidence which you deliberately falsify using tomato source from the underside of a pizza box that was conveniently dropped on the floor by George earlier on, although the tomato source does have a piece of chewing gum stuck in the centre of it that has to be removed with Nico's press card.

Considering that Macross Delta is the latest series in the saga, it's clear this new book will focus on this more readily but it will be interesting to see what other pieces of art turn up.

Hi Cory I find this a very interesting piece but I am not a youngster who has just passed a degree course I am a 60 year old who has just been disabled out of work and who has drawn, doodled or painted all of my life, I come from a family of 12 so we didn't get a chance to go to college I left school at 14 with nothing more than a second place in an art competition and every time I tried to take a course in art at night school my work hours would change usually just after I had handed over my # 100 or so.

While there, she approached the show's set decorator and asked whether the production might be interested in buying a piece of her art for use on the show.

My experience so far has been that no matter how good or bad my art might or might not be, ive found people are very, very, VERY, interested in watching your creative process from start to finish, and by being openhearted and inclusive, (allowing them to» peek into your world), and to live vicariously through you, the desire to have a» piece» done by you however small or simingly insignificant, becomes a small rageing fire within them!.

There was also an interesting mix of «in - your - face», what I would describe as adolescent rebellion statement art that included everything from your run - of - the - mill one word paintings and sculptures, to catchy art - fair - destined pieces like Juan Miguel Palacios» Damien Hirst - recalling scull painted on multiple clear panels.

Mainly known for his sculptures in papier maché, resin and bronze, Juan Muñoz often took an interest in writing and in sound art, creating audio pieces and compositions for the radio.

Coinciding with Robert Rauschenberg: Erasing the Rules, Performance All Ages presents BodyCartography Project for a weekend of drop - in, participatory movement pieces that draw on Rauschenberg's interest in collapsing the borders between visual and performing arts.

His career, current and past, is being revisited in this engaging two - gallery survey uptown that's certainly worth a look if you're interested in rediscovering a piece of postwar art history.

Chareau and his wife were keenly interested in contemporary art, and the exhibition reunites several pieces from their collection of paintings, sculptures, and drawings by significant artists such as Piet Mondrian, Amedeo Modigliani, Max Ernst, Jacques Lipchitz, and Robert Motherwell.

There are echoes of this past however, and it was interesting when we included the George Bellows painting of ice floes in the Hudson River on the top floor, because that piece harkens a little bit to aspects of late 19th - century art and the age of American Impressionism, with artists like Childe Hassam and William Merritt Chase.

Looking back at Hershman Leeson's career now, the pieces to the puzzle easily fall into place — the artist was on the vanguard of both burgeoning feminist and new - media art movements during the 1960s and 70s, with a concerted interest in the cyborg that unites these fronts.

Each piece has a rich romantic flair, reflective of the artist's interest in the Baroque, Classical, and Romantic periods in art and literature.

I learned about the snowball piece, Bliz - aard Ball Sale, when I began getting interested in art concerned with institutional critique.

It showed us that there's this demand for great craftsmanship for the Lalique heritage and how we make things but also in a way that's exciting and collectible like art pieces and that's when we decided it would be interesting to collaborate with other artists and bring them within our design atelier so we could create shock and push boundaries again.

I am interested in spatial relationships that capture an essence of a place, how we move through a space in the world and within a piece of art.

He's interested in the fact that this piece of art couldn't have been created 10 or 15 years ago, it could only have been created today.

This interest in the spaces where artists do nothing but gestate and ideate extends to American artist Dawn Kasper's piece, for which she's transplanted her whole studio into the pavilion, complete with a drum kit, work tables piled with art and scraps, and the artist herself, milling around, chatting to people, and fiddling with her work from time to time.

Interested in the materials used for printmaking — wood, lead, steel — more than the finished product, Walton began to make three - dimensional pieces after seeing an exhibition of sculpture at the Pennsylvania Academy of the Fine Arts.

While Edwards wouldn't describe himself as an aficionado, he has a lively interest in art - he buys the odd piece for his London flat, which is just around the corner from Tate Britain, and last visited the gallery to see Mark Wallinger's State Britain («very disturbing»).

They are interested in pieces ranging from the area's graffiti culture to a wide array of vibrant pop art influences.

The ten articles for which Saltz won the prize, all published originally by New York magazine in 2017, display a diverse range of interests, though the selection reveals the critic's interest in art world controversies; it includes commentary on that year's contentious Whitney Biennial, a take on the auctioning of a painting purportedly by Leonardo da Vinci at Christie's, and a piece addressing the Balthus painting that thousands petitioned to have removed from the Metropolitan Museum of Art in New Yoart world controversies; it includes commentary on that year's contentious Whitney Biennial, a take on the auctioning of a painting purportedly by Leonardo da Vinci at Christie's, and a piece addressing the Balthus painting that thousands petitioned to have removed from the Metropolitan Museum of Art in New YoArt in New York.

Demonstrating Hirst's formative interest in collage and construction, these works are displayed alongside a number of pieces by Margaret Mellis (1914 — 2009) from the Pier Arts Centre Collection and on loan from Tate, highlighting the fascinating connection between the two artists.

A month later, respected artist and critic Coco Fusco followed up with her own interesting take in the Brooklyn Rail, examining the Woolford piece from within the context of art school's — and by extension, the art world's — avoidance of messy topics like institutional racism.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arIn this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in arin art.

«I made a number of jewelry pieces from these rusted objects for a Museum of International Folk Art show, and that sparked my interest in repurposing materials,» she says.

Museo Patio Herreriano, Valladolid Curated by Margarita Aizpuru The project is based on the combination of a selection of important women within the scope of private collections of art in our country, which integrate within their interesting and important art collections pieces of video art by female artists both nationally and internationally, with the aim of publicizing these collections and a selection of artists and videos made by them in our own context.

It was after Emin's evocative piece in Parkett art magazine in 2008 that Bourgeois expressed her interest in a series of joint works.

Originally planning to enroll in art school in San Francisco, de Nieves ultimately changed his mind and decided to study on his own, taking cues from his friends who were enrolled in classes, but leaving himself the liberty to follow his own instincts and interests — and allowing him to work for several years on the same pieces.

In an interesting comment on the earlier piece, Benjamin Weil, writing in Flash Art (January 1995), said: «In the work of South African artists, one finds strong formal ties to Western art produced over the last thirty yearIn an interesting comment on the earlier piece, Benjamin Weil, writing in Flash Art (January 1995), said: «In the work of South African artists, one finds strong formal ties to Western art produced over the last thirty yearin Flash Art (January 1995), said: «In the work of South African artists, one finds strong formal ties to Western art produced over the last thirty yeaArt (January 1995), said: «In the work of South African artists, one finds strong formal ties to Western art produced over the last thirty yearIn the work of South African artists, one finds strong formal ties to Western art produced over the last thirty yeaart produced over the last thirty years.

Complete with coral and deep - sea wear - and - tear, the pieces continue the artist's interest in challenging the viewer's perspective while commenting on art's changing status as time unravels.

After an interesting experiment with two - dimensional accumulations (Dadaist stamp prints dubbed «cachets») which he showed at a solo exhibition staged at Paris's trendy Galerie Iris Clert in 1958, Arman moved on to his «Coupes» and «Coleres» accumulations of objects which he cut into thin strips before smashing them to pieces in public, in a sort of action - packed performance art.

After training at the Slade School of Art in London, he found that he was less interested in the artwork itself than in the boundaries between it and the world - hence some of his best - known pieces, such as No 79 (small blob of Blu - Tack squidged on wall), No 88 (sheet of A4 paper scrunched into ball) and his sign on the facade of Tate Britain that read: The Whole World + The Work = The Whole World.

Matta - Clark had a heavy duty interest in the art form — letting Bronx teens tag up his van and documenting early tags on the subways in pieces he called Graffiti Photoglyphs.