Sentences with phrase «particular in his later works»

The exhibition at IMMA expands upon previous exhibitions on Oiticica by investigating notions of the script and proposals, which the artist engaged with throughout his life, and in particular in his later works.

Not exact matches

He later added that he favored Ukrainian women in particular: «They are very beautiful, I find that works very well.»

Geck's Bach, and in particular the Bach of the late instrumental works, is instead the conduit through which the primarily text - based aesthetic of the Baroque is transferred to the motive - based music of later centuries.

For some hilarious acting from Giroud in particular, see the video below for Arsenal's latest example of their fine charity and community work.

Later that night in Dallas, however, it is clear that Zanzi and company still have plenty of work marketing Er Pupone and Roma's particular brand in the United States.

I have been very much influenced by Skinner's work in particular on this, having come to Pettit quite late.

Speaking later Treasury spokesman Vince Cable also attacked the Conservatives, in particular David Cameron's practice of cycling to work followed by his official car carrying his suit and papers.

Jones pays particular attention to Cameron's years working for Norman Lamont and Michael Howard in the 1990s (when he was covering those politicians» activities for the BBC on a daily basis) and later in the book - after dealing with the 2005 Tory leadership election, Brown replacing Blair, the political attitudes of the Murdoch press and Expenses-gate - he devotes whole chapters to both the TV debates and the role of the leaders» wives in a modern British election campaign.

``... In particular, there was a period in the late - 1980s and early - 1990s when retreat slowed down along most of the coast, and we don't see any cause for this in the temperature records — so there may be some other factors at work, perhaps ocean temperature.&raquIn particular, there was a period in the late - 1980s and early - 1990s when retreat slowed down along most of the coast, and we don't see any cause for this in the temperature records — so there may be some other factors at work, perhaps ocean temperature.&raquin the late - 1980s and early - 1990s when retreat slowed down along most of the coast, and we don't see any cause for this in the temperature records — so there may be some other factors at work, perhaps ocean temperature.&raquin the temperature records — so there may be some other factors at work, perhaps ocean temperature.»

It was worth a try... and now, four years later, while having a conversation about nothing in particular, my fiancé said to me, «You have done a lot of work on yourself these past years and it shows!»

Harry's latest project is SuperCharged www.superchargedmovie.com, which is a movie that focuses on some of the exciting solutions to the problems in mainstream science and medicine relating to how energy works in the body beyond just nutrition — in particular — circadian rhythms, light, magnetism and water.

This year, in particular, has felt like an extended exercise in things - not - working - out - as - planned, so I suppose I should not have been surprised by yet another curveball late in the game.

If you cast narrative aside, the later entries in particular are intricate, even beautiful works.

Review I have seen this movie twice, probably the third romantic movie that compelled me to do that, and the reasons are quite simple: It's probably impossible that anyone can't relate to young Josh Hutcherson's character, an 11 year old with a normal middle class life and problems (parents initiating divorce); that its surprise by the rediscovery of a young classmate (Charley Ray) initially as an unexpected friend and later as something else... The well crafted work of director Mark Levin is based on the mutual discovery of all these feelings (mostly new and uncontrolled) that evolved in Josh's character and in another particular viewer: you.

The film is a strong, surprisingly uplifting piece of work, some of the scenes in which have stayed with me throughout the year, in particular a beautifully choreographed sequence in a police station and a heartbreaking conversation between two characters late on.

Doing press for his latest movie Outcast, the Hollywood actor singled out Christensen's work in the prequels for particular praise.

Even as a young director, Kubrick seems to be just as particular about his way of working as he was later on in life.

Although she notably did not specify what she would replace them with in that interview, she later advocated that she would work diligently to grow a particular charter school chain with which she is affiliated and which she sponsored as a Senator for New York.

I worked on this particular book off an on for about four years in my late twenties, sometimes not touching it at all for long periods.

The e-Ink Research and Development Labs have been working in overdrive pumping out E-Ink Triton 2 and producing many test models to show to particular vendors that are interested in seeing the latest tech.

With a programming book in particular, one might get the kindle version to read it portably, but later if you want to refer to it while working on something it would be more convenient on the computer screen, especially if you can copy & paste, and especially since the computer version won't go to sleep every few minutes.

In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52In particular, his «Black Paintings» — monochromes of enamel on newspaper collage — have much in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52in common with the late work of both Mark Rothko and Ad Reinhardt, and have recently been referenced in relation to Pollock's «Black Paintings» from the very same years (1951 — 52in relation to Pollock's «Black Paintings» from the very same years (1951 — 52).

As the amount of text in his work increases, which is the case in his later work in particular, text and picture grow to become equal compositional elements; thus heightening the viewer's need to produce meaning out of contradictory elements.

In particular, the critical estimation of Picasso's late works, which Perl had lauded in a chapter titled «A Grande Finale,» has made a dramatic leap upwardIn particular, the critical estimation of Picasso's late works, which Perl had lauded in a chapter titled «A Grande Finale,» has made a dramatic leap upwardin a chapter titled «A Grande Finale,» has made a dramatic leap upwards.

Later she recognised that familiarity with non-European art gave her insight into the work of her contemporaries, and that Chinese art, in particular, had presented her with a key to abstraction.

There were artists whose work had to be written out of the story of a particular period (the late work of Stuart Davis, for instance) or minimized in importance in order to streamline the pedigree of American art (Edward Hopper).

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

The good news is that Whitney curators, led by Chief Curator and Deputy Director for Programs Donna De Salvo, have systematically sought out gaps in the museum's permanent collection and attempted to fill in missing contributors to American art history since the late 19th century, with particular attention paid to works by women and people of color.

Reflecting on her life as a designer, she chose motifs for the prints based on her work from particular years: two from the 1920s, when Albers was at the Bauhaus and met her life - long partner and later husband Josef; two from the 1940s, when the couple taught at the experimental Black Mountain College in North Carolina after having fled Nazi Germany; three from the late 1950s to the early «70s, after they resettled in Orange, Connecticut and Josef served as Yale University's Chair of the Department of Design; and two from the early 1980s, after Josef's death.

The influence of Guston's work, in particular his late paintings, continues to «cast a long shadow over the current landscape of contemporary art,» as Peter Benson Miller acknowledges in his recent publication.1 Because Guston was one of the few American painters to «defect» to Europe — both by undertaking numerous residencies, as well as departing from the quintessential Postwar «American style» — his significance is especially pertinent within a contemporary European context.

Among later generations, Arnold Böcklin (1827 — 1901) was strongly influenced by his work, and the substantial presence of Friedrich's works in Russian collections influenced many Russian painters, in particular Arkhip Kuindzhi (c. 1842 — 1910) and Ivan Shishkin (1832 — 98).

He is a British artist who came to prominence in 1980's using industrial materials: he used a lot of plastic, a lot of found work and then around the late 90s he started to use very kind of classic sculpture materials, like this particular work is made out of bronze, but in an unconventional way.

Brown traveled to Japan in the late 1990s and her fascination with this style inspired this particular body of work.

The stripped - down formats and the blacks and greys of his later works find many parallels in the art of their time, and in particular the work of younger generations of artists both in New York and Europe.

Balla's «iridescent interfaces» in particular shimmer in the manner of work made 50 years later, but the less directly futurist works seen here were largely forgotten until championed by his much - younger friend Dorazio in the late 50's.

«In particular, works form the middle to late 1930s are taken up with interiors as well as subjects lifted from the subway and the city street in which figures - represented in a spare, unrefined expressionist idiom - are placed in a variety of measured spaces..In particular, works form the middle to late 1930s are taken up with interiors as well as subjects lifted from the subway and the city street in which figures - represented in a spare, unrefined expressionist idiom - are placed in a variety of measured spaces..in which figures - represented in a spare, unrefined expressionist idiom - are placed in a variety of measured spaces..in a spare, unrefined expressionist idiom - are placed in a variety of measured spaces..in a variety of measured spaces....

Weiner's answer to these paintings was to inscribe the trace of the particular into such solipsistic, hermetic painting, to excise something, materially and symbolically, from its perfection — just as he was to do later, in a celebrated work, when he proposed removing a section of the Wall.

was another painter who worked in a large variety of mediums, but who turned to acrylics later in her career because of their particular physical qualities.

Assaël — who became intrigued by mathematics, physics, and their relation to art while in high school in Rome in the mid -»90s; who, still a teenager, knocked on arte povera artist Jannis Kounellis's door to discuss tragedy and the notion of necessity; who later studied the philosophies of Kant, Hegel, and Heidegger at university; and who now, an artist in her own right, has particular enthusiasm for the work of Bruce Nauman, Gordon Matta - Clark, and Richard Serra — creates inspiring artworks that re-place the body and authentic experience at the center of artistic practice after

Of particular note are two paintings from the early 1960s, «Lily of the Valley,» (c. 1960) and «Untitled» (1961), which introduce several familiar motifs found in De Forest's later work.

Almost five decades later, Penone continues to explore the intersection between man and nature in his work, with particular emphasis on nature's persistence over man's constant interferences.

His technical achievements became a paradigm for British art for the whole of the eighteenth century, and his later works in particular influenced the near abstract compositions of the next generation of British artists.

In thinking about the softening of modernist styles through both post-modernism and folk aesthetics, Morrison's works reveal how particular genres have been borrowed in order to lend a certain sense of authority, permanence or perceived refinement to the otherwise disposable late 20th century built environmenIn thinking about the softening of modernist styles through both post-modernism and folk aesthetics, Morrison's works reveal how particular genres have been borrowed in order to lend a certain sense of authority, permanence or perceived refinement to the otherwise disposable late 20th century built environmenin order to lend a certain sense of authority, permanence or perceived refinement to the otherwise disposable late 20th century built environment.

Among the most historically important have been de Chirico, gli anni Venti (de Chirico in the 1920s), 1986 — 1987, then transferred to Palazzo Reale in Milan, and Boccioni 1912 Materia, 1991 — 92; Marino Marini — Mitografia (Marino Marini — Mythography), 1994 — 1995, which analyzed the evolution of the most characteristic aspect of the artist's output; Morandi ultimo — nature morte 1950 — 1964 (The Later Morandi — Still Lifes 1950 — 1964), 1997 — 1998, then transferred to the Peggy Guggenheim Collection in Venice, and de Chirico, gli anni Trenta (de Chirico in the 1930s), 1998 — 1999, and recently Alberto Burri, opera al nero (Work in Black), 2012 - 2013, focused on a particular aspect of the artist's production: the treatment of black in his «Cellotex» works; Emilio Vedova, De America, in collaboration with the Fondazione Emilio e Annabianca Vedova, based on a series of about fifty paintings on canvas and paper, all in black and white, realized in 1976 - 77.

Rail: In terms of what we've been talking about — the relationship of sculpture to painting and late modernism to Pop — does the work of Jessica Stockholder or Tara Donovan have particular draw for you?

Following his family's emigration from Poland to Canada during his childhood and his later studies in the field of architecture in Winnipeg, Pyszczek laid the focus of his artistic work on the phenomenon of mass - produced residential blocks, in particular on the «embellishment» of their façades and building structures, which also extend into the surrounding environment and, with this, into interconnected, urban systems.

The legacy of late - 20th - century Pop Art is evident throughout the exhibition: Andy Warhol's style and subject matter in particular is echoed in paintings by Bruno Peinado, Rebecca Campbell, Lisa Alonzo, and Mickalene Thomas; in photographs by Hassan Hajjaj, Laurel Nakadate, and Hank Willis Thomas; and in multi-media works by Nick Cave, Matthew Brandt, Roberto Guerrero, and R. Luke DuBois, among others.

Further Evidence — Exhibit A and Further Evidence — Exhibit B present a crucial selection of later works, highlighting in particular Schneemann's large - scale, multi-media installations that incorporate her research, installations, film, and video.

Art of Change is the first catalogue to trace out a very particular seam of performative Chinese art from the late 1980s to the present, as manifested in the work of eight artists: Liang Shaoji, Wang Jianwei, Xu Zhen / MadeInCompany, Gu Dexin, Sun Yuan and Peng Yu, Chen Zhen and Yingmei Duan.

In her latest show of work, Lachowicz references not the plaques of Carl Andre or boxes of Donald Judd, readily recognized by gallerygoers, but a particular film from early in Clint Eastwood's career, High Plains Drifter (1973In her latest show of work, Lachowicz references not the plaques of Carl Andre or boxes of Donald Judd, readily recognized by gallerygoers, but a particular film from early in Clint Eastwood's career, High Plains Drifter (1973in Clint Eastwood's career, High Plains Drifter (1973).