Sentences with phrase «producing real art»

Though Samsung insists that there are real artists producing real art on their smartphones, I suspect if you're anything like me the actual benefit will be more around how handwriting looks even more lifelike.

There are plenty of artists around producing real art.

Not exact matches

Fortunately the actuality is better than this; real art is being produced today; but to the extent that this concept holds, we are an age that has lost its way and, like Ecclesiastes, is merely busying itself with trivialities in order, as he said, to keep from thinking — one wonders if the real objective is to hide an inability to think.

Experienced painters can use acrylic paints or watercolors to produce notebook covers that are real pieces of art.

For every movie featuring an Ellen Ripley, Sarah Connor, Alice or Katniss Everdeen, Asian film industries managed to produce several dozen more entertaining, hard - hitting action flicks featuring strong female characters portrayed by butt - kicking heroines, many of them real - life martial arts champions or physically gifted dancers or performers.

The real art behind videogame production, which technology can only help make happen, is as Sweeney says in capturing that elusive human spirit and producing what at the end of the day is great, immersive entertainment.

I am sure there are many who would disagree with me and we all know that art today is very subjective... there's a real difference between an «unknown» and a «known» name [who can produce rubbish that collectors clamour for], so for the majority of us, pride in our work is of paramount importance.

Apropos to the «Bringing Art To Business» kick I'm currently on, here's a fun t - shirt we produced for Roger Shank's real estate company and «Talk...

Moscow - born, German - based artist Olia Lialina has, for the past two decades, produced many influential works of network - based art: My Boyfriend Came Back from the War (1996), Agatha Appears (1997), First Real Net Art Gallery (1998), Last Real Net Art Museum (2000), Online Newspapers (2004 - 2017) and Summer (201art: My Boyfriend Came Back from the War (1996), Agatha Appears (1997), First Real Net Art Gallery (1998), Last Real Net Art Museum (2000), Online Newspapers (2004 - 2017) and Summer (201Art Gallery (1998), Last Real Net Art Museum (2000), Online Newspapers (2004 - 2017) and Summer (201Art Museum (2000), Online Newspapers (2004 - 2017) and Summer (2013).

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Jason Andrew + Norte Maar continue to put the spit on the art world where community counts more than commerce, the art is real and the people producing it are too.

His 2015 exhibition, Loose in Some Real Tropics: Robert Rauschenberg's Stoned Moon Projects, 1969 — 71, was produced in collaboration with the Robert Rauschenberg Foundation and the Cantor Center for the Arts at Stanford University.

The course will last six full days and is designed to produce well - rounded arts professionals with a global perspective who not only understand the language and ideas behind curation but can also apply those ideas in a variety of real - world contexts.

Unlike a museum or a theater, art at Headlands is being produced in real time.

However, new textual material has been produced, new conversations started, and the heroic struggle of The Real Estate Show not only reached younger generations of artists and art professionals, but ended up covered by major mass media, making people aware of how timely the restaging was, and how things not only have not changed, but have gotten even worse.

Wallinger, a former racing aficionado who once bought a racehorse and called it A Real Work of Art, has produced an edition of 30 models of the white thoroughbred to raise money to «reenergize» the project.

Coming to Power: 25 Years of Sexually X-Plicit Art by Women, curated by E. Cantor, produced by S. Watson at the David Zwirner Gallery, New York; traveled to Real Arts Ways, Hartford, Connecticut.

Over several seasons, the artists produced a range of conceptual artworks and objects that updated art historical movements like Dada, Surrealism, and Agitprop, commented on social and political real - ties, deepened the content of unfolding plotlines, and elevated the form and content of a «90s pop - culture mainstay.

Belonging to the generation that produced Abstract Expressionism (he was arguably the first champion of Jackson Pollock), Greenberg saw in that artist's personal tragedy a metaphor for the disasters of American life and art, in which people were alienated from real culture, were being forced to live off kitsch culture («one of faked sensations»... «because it was turned out mechanically») and he was resigned to the fact that at the other extreme, the so called avant - garde had taken off in another direction which was producing art for art's sake for themselves and the cultural elite.

Editions of Cozier's prints have been produced and exhibited by David Krut Projects in New York and Johannesburg, SA, and he has exhibited in the 5th and 7th Havana Biennials (1994; 2000); Infinite Island, Brooklyn Museum of Art, New York (2007); the Trienal Poli / Gráfica de San Juan, América Latina y el Caribe, Puerto Rico (2009); Rockstone and Bootheel: Contemporary West Indian Art, Real Art Ways, Hartford, CT (2009); and AFRO MODERN, Journeys through the Black Atlantic, Tate Liverpool, UK (2010).

What scares me about contemporary art is the merging of it with the entertainment industry -LSB-...] Because once the entertainment industry can produce fake resistance then you don't have real resistance.»

His 2015 exhibition of Robert Rauschenberg's NASA - commissioned artworks of the late 1960s, Loose In Some Real Tropics, was produced in collaboration with Stanford University's Cantor Center for the Arts and the Robert Rauschenberg Foundation.

These works were created between the 1960s and 2010 and are a key strand in Balzar's 50 years of abstract painting, which she produced in a global context, exploring the role and impact of non-referential art — a project that never left real - world references far behind.

Apropos to the «Bringing Art To Business» kick I'm currently on, here's a fun t - shirt we produced for Roger Shank's real estate company and «Talk Like A Pirate Day».

It is also a crime to sell, distribute or produce any comic book or work of art that depicts real or fictitious violence — an odious limit on free speech that has no place in modern society.

Its Real Estate Edition Color Printing Solutions combines the company's printers with a subscription to a Web - based service for designing and producing popular print promotions, such as flyers, brochures, and newsletters from a library of design themes, templates, and clip art.