Sentences with phrase «movie about art history»

, a little more cerebral (Daniel Craig, Matt Damon, Cate Blanchett, and George Clooney star in a heist movie about art history!)

Not exact matches

I enjoy watching sunsets and listening to the ocean waves, reading books, staying in and having movie nights, and watching documentaries or articles online about history, culture and arts.

It may try to force too much information into too little time if you don't know about the history and technology of film, but this documentary romanticizes the art with such passion and finesse that it stands as a reaffirmation of the power of movies and the importance of understanding their history and possible future.

MAD ABOUT MOVIES: Nowhere is the collision of art and commerce more pronounced than at the Cannes Film Festival, and HBO's tantalizing quasi-mock-documentary Seduced and Abandoned (9 / 8c) gives us a ringside seat, courtesy of Alec Baldwin — a Cannes newbie, incredibly — and director pal James Toback, who celebrate the history and glamorous hysteria of this venerated event while purporting to pitch a passion project to investors: an unlikely political sex drama they call «Last Tango in Tikrit.»

Spanning a century of film art and taken from various countries around the world, these posters show the evolution of movie promotion over the years, but more pertinently they also reveal a great deal about how blackness has been portrayed, exploited and indeed commoditised, throughout the history of cinema.

They made handsome movies about casually wealthy people, usually members of an academic and artistic elite, who loll about in beautiful European locals — here an Italian estate where an art history scholar, Professor Perlman (Michael Stuhlbarg), hosts a student named Oliver (Armie Hammer), who develops a reciprocated attraction to Perlman's 17 - year - old son Elio (Lady Bird «s Timothée Chalamet).

In these eloquent and surprising essays, twenty writers face this fact, among them Geoff Dyer, who describes the ghost bikes memorializing those who die in biking accidents; Jonathan Safran Foer, proposing a new way of punctuating dialogue in the face of a family history of heart attacks and decimation by the Holocaust; Mark Doty, whose reflections on the art - porn movie Bijou lead to a meditation on the intersection of sex and death epitomized by the AIDS epidemic; and Joyce Carol Oates, who writes about the loss of her husband and faces her own mortality.

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.