Sentences with phrase «real art form»

It's a real art form.

«If it was a straight shoot, it wouldn't be very interesting,» he says, «so the ability to advance a policy agenda in an environment that is entirely set up to thwart it is a real art form.

When I was in the classroom, taking the time to listen became a real art form.

That's a real art form.»

Growing up, they were subjected to the never ending saga of their parents» famed performance art, wherein the family would travel around and stage confrontational situations with strangers, believing the natural reactions created constituted as the only real art form there really is (including fake bank robberies, pretending to heckle their kids during a street performance, manipulating a high school staging of Romeo and Juliet, etc.).

In brief, this is another fine example of how independent developers are helping to turn my hobby into a real art form.

Not exact matches

Look around at today's art in every fashion and form to see the real talent is «finding inspiration in the world and using it to express themselves.»

Maybe there's something to this idea that the prettier you are in real life, the worse you are in Google Arts & Culture form?

Which is why, in a rare turn, the neighborhood's alderman and a big - shouldered real estate developer partnered to form a nonprofit to keep Logan Square's arts flourishing in a tumultuous local business boom.

Perry, who says he'll decide whether he'll run for president by June, spoke to a group of power players at the dinner dubbed «The Real Economic State of the Union,» hosted by John Catsimatidis, CNBC's Larry Kudlow and economist Stephen Moore, who explained that they, along with Art Laffer and Steve Forbes, are forming the Committee to Unleash American Prosperity to showcase GOP stars and discuss the economy.

There are texts and meditations on the power and purpose of science fiction, both as art form and intellectual tool, but visitors are left to piece together their own ideas — difficult while being accosted by a real Darth Vader mask, Star Trek spacesuits and an enormous, loud, interactive NASA console.

Whether you're a bona fide meditation follower or a skeptic looking for more information, you won't want to miss Light Watkins» simple and refreshing real - life perspective on meditation as an art form, daily practice, and way of life.

Little do they know, however, that in going through the process of creating this play - about spirits and children, oppression and repression, and, finally, liberation - that an awakening will occur in themselves, the arrival of the author, a meek and awkward man named William Peters, embodying loneliness itself, further provoking them into more real and intimate territory, and into the discovery that even the lowest and crudest forms of art come from the deepest and intimate chambers of our psyche.

John L. Sullivan, played by Joel McCrea, is a successful Hollywood comedy director — but he wants to create serious art, in the form of a movie called O Brother, Where Art Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.&raqart, in the form of a movie called O Brother, Where Art Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.&raqArt Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.»

There are very serious conversations going on between filmmakers and distributors for an art form that is experiencing real challenges.

All art forms employ some means through which images become real.

Cleaning up real - world HTML is an art form and I don't expect automated tools like BookGlutton's HTML to ePub converter (which uses tidy) to be able to make it perfect.

Performers are judged based on technical merit, stage presence and the extent to which the solo transcends the imitation of real guitar playing and becomes an art form in itself.

Codemenion is definitely one of those studios: a small, scrappy team making handcrafted games that show a real love for the art form of making games...»

But are the revealed layers real, or deliberately placed there to form a unique piece of art?

Here's to the real creation and dissemnation of art, in any and all authentic forms.

2016 — Bohrer, Ashley, The Commodified Built Environment, Red Wedge, August 2015 — Derrick, Andy, Friday Feature, Matthew Woodward, ArtSquare, December Hartigan, Phillip, Seeing the Art For the Trees, Hyperallergic, August Daignault, Kristina, With Matthew Woodward, Inside the Artists» Kitchen, May 2014 — Hartigan, Phillip A, Expo Chicago Fails to Inspire, Hyperallergic, October, Obaro, Tomi, What I'm Doing This Weekend, Matthew Woodward, Chicago Magazine, October Juarez, Frank Art365, Matthew Woodward, May Hildwine, Jeriah, Matthew Woodward, Review, ArtPulse Magazine, April 2013 — Hall, Sarah Elise, Art - Rated, Matthew Woodward, Interview, November Klein, Paul, Art Letter, The Huffington Post, October Sherman, Whitney, Playing With Sketches, Rockport Publishing, October 2012 — Meuller, Rachel, Meticulous Chaos, Be Nice Art Friends, July Taskaporan, Erol, Matthew Woodward, Interview, Neo Collective, July Gumbs, Melissa, View From the Birth Day at the Chicago Cultural Center, Examiner, July Amir, Matthew Woodward's Decaying Drawings, Beautiful / Decay, May Dluzen, Robin, Catalogs of Anonymous Forms, Chicago Art Magazine, April Debat, Don, Unveiling the Unique, Chicago Sun Times, March Mutts, Lost at E Minor, New Art, January 2011 — Vora, Manish, Iconomancy: The Magic of Art, Art Log, November Pocaro, Alan, Keeping Your Balance in the Windy City, Art Critical, October Hausslein, Allison, Fanmail, Dailyserving, November Marszalek, Norbert, One Question, Neotericart, October New American Paintings, Number 95, Midwest Edition, June Cook, Greg, Contained at BCA, The New England Journal of Aesthetic Research, April James, Damian, More Than a Whisper in the Ear, Bad at Sports, January 2010 — Blau, Lilly, Love and Real Estate, The Huffington Post, November Himebauch, Adam, Matthew Woodward, Veoba Magazine, November Pitts, Johnathan, Look What They Found, Baltimore Sun, July Duquette, Laura, Featured Artist, Artery Magazine, May Duquette, Laura, How WNY Has Influenced His Work, Buffalo Rising Magazine, May Pocaro, Alan, Selections From the INDA 5, Aeqai, April Franz, Jason, International Drawing Annual 5, Manifest Gallery, March Solamo Tony, Barrington Hills Courier - Review, January Barber, John, Medium Magazine, Outside Infinity, February Avedesian, Alexi, Vellum Magazine, Spirits, January 2009 — Reed, Marliana, Invisible City Magazine, Issue 6, November Lacy, Rebecca, MuseMemo Magazine, Hauntingly Beautiful, October Abram, A, Spillspace Magazine, All the Wild Horses, September Kohn, Iliana, Lost At E Minor Magazine, Issue 244, 245, August Tremblay, Brenda, Finger - Lakes Explores Connections, Mysteries, WXXI, P.R, August Low, Stuart, Drawing Together Man and Nature, Democrat and Chronicle, August Wheeler, Dan, Upstate Artists Exhibit in Exclusive MAG Show, MPN Now, July Rafferty, Rebecca, The Elephant in the Room, City Newspaper, July 2008 — O'Sullivan, Michael, Modern or Retro?

As late as 1989 Celant had accepted a number of artists (Cucchi, Clemente, Kiefer) but still regarded the new painting as nationalistic and apolitical and characterised instead by a personal vision in the guise of «beautiful painting» that would seduce the viewer into believing it was a superior or «real» form of art.

The bronze lends itself well to the form of the pumpkins, mimicking the warmth in colour of their real life counterparts with the black spots adding the familiar graphic pop art feel and yet also a sombre edge to these works.

In real life Leckey is a professor in Germany, and all his art is a kind of erudite demonstration, in one form or another.

The house would have a two - level basement, closed to the public, conceived as an underground studio where he would make his art — a secret lair and such a natural extension of his overall artistic project that it seems like some kind of joke (it is tempting to think of it as a real - life «Fortress of Solitude,» Superman's hideout, which Kelley constructed in three - dimensional form and used as the central image in his final solo exhibition last September at the Gagosian Gallery in London).

Solo Exhibitions 2017 «Dust,» Street Museum, Seoul, South Korea «Form,» Space Kaan, Seoul, South Korea «Real Illusion,» Klein Sun Gallery, New York, NY 2016 «Dust,» Christian Louboutin, Art Basel, Wan Chai, Hong Kong

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.»

1, no. 8, November 1970; (introduction) John Hoyland (catalogue), Beaux Arts, London, 2003 Maloon, Terence, «Hoyland Retrospectively» in John Hoyland, Paintings 1967 - 1969 (catalogue), 1979 Maloon, Terence and John Edwards, «Two Aspects of John Hoyland» in One, no. 2, 1974 Marginson, R.D., (foreword) John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, London, 1990

Six full - color illustrations are given to each artist included: Brian Calvin, Anna Sew Hoy, Ron Nagle, Michael Reafsnyder, James Richards and Patrick Wilson — all of whom collapse the fictitious distinctions between art and craft, painting and ceramics, form and function, leisure and labor, still life and real life, confounding the boundaries between each.

It's easy to forget in the age of readymade iTunes playlists that real DJing is an art form that goes beyond the ability to put together a list of randomly - shuffled MP3s, and that a DJ with true skills can make all the difference in the world.

Another form of optimism, in the real - estate or art bubbles these days, lay well in the future.

The piece presents a fictitious time ticking, synched to the real one and infused with a conceptual narrative, resulting in an experience that pushes the experience of watching movies past the cinematic art form into fine art.

In «Hello!Selfie» Durbin presents a new form of passive aggressive performance art, with female performers taking selfies in a public space for an hour straight, uploading them to the Facebook event wall in real time.

the Berlin - based artist collective Club Real aims to explore these questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

In a city that is becoming more and more dense and utilized, the Berlin - based artist collective Club Real aims to explore the above questions and some of the city's projects in order to widen the perspective on the possibilities and limitations of participation in art and art interventions in public urban spaces, using the concept of «disturbances of every day life» and presentations as a form of intervention.

Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis - a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.

In 1986 he formed Vulcan Inc., his private company which oversees all his philanthropic and business activities including but not limited to Vulcan Aerospace, Vulcan Capital, Vulcan Real Estate, Vulcan Productions, Vulcan Philanthropy, the Paul G. Allen Family Foundation, the Seattle Art Fair, Upstream, as well as sports teams, research institutes, museums and arts and entertainment venues.

Under Rachel Harrison's hand, consumer goods and handcrafted elements morph together to create baffling sculptural forms that activate their beholders instantly — «I want people to be real with art, to be conscious and present with the object in order to experience it... The materials convey a direct involvement and immediacy», says the artist emphatically.

The fiercely un-curated show blurred the boundaries between art and real life: the store, consisting of readymades and multiples, proved that the distance between artworks and everyday objects is established by the art market, and the 24/7 access suggested new forms of social interaction.

, a new form of passive aggressive performance art, with female performers taking selfies in a public space for an hour straight, uploading them to the Facebook event wall in real time.

Capote always tries to draw a connection between the spectator and his art, whether by casting his sculptures from the body parts of real people or by inviting viewers to physically interact with works that take the form of furniture or functional objects.

But that's different from the situation I'm describing: art that tangibly occupies three - dimensional space, yet seems to exist in more compelling form when seen in a magazine than it does in real life.

In 1971, Gilliam pulled out of an exhibition of work by black artists at the Whitney Museum of American Art because, as he wrote in a letter signed by six other artists also protesting, the show represented «the worst form of tokenism without any regard for our real qualities.»

The Institute looks at an emergent new art form where real world and fictional narratives collide to create unforeseen, unsettling consequences.

The latter was a trend that demanded a completely «in - formal art» and rigorously dismissed both geometric forms and abstract or conceptual representation of real objects (Antonio Tàpies, Jean Dubuffet, Wols (Wolfgang Schulze)-RRB-.

McNay Art Museum, 6000 N. New Braunfels Ave., hosts these exhibits through Sunday: «Real / Surreal: Selections from the Whitney Museum of American Art» and «The Human Face and Form.»

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.

Her conflicts in real life empowered her to authenticate her experiences and struggles through a unique art form.

Because gems are a geometric form as well as an object of popular culture, his use of fake gems can become real art by standing in the gap between the two.