Sentences with phrase «real artists when»

The folks over at iFixit are real artists when it comes to tearing down devices, meddling with every screw, glue, hinge and so on.

Not exact matches

Even though the album recalls some»70s - era nostalgia, its real endearment is its melodies and straightforward garage - born delivery that reminds us of a time when MTV's Buzz Bin was laced with artists like Superdrag and Weezer... groups that made indie - rock fun again.

Plus, kids can see the artists» work in real life downtown when they're done with their own masterpiece.

The characters may think they sound brilliant when they crib from Oscar Wilde with lines like, «What is true about music is true about life: that beauty reveals everything because it expresses nothing,» or «A real artist creates beautiful things and puts nothing of his own life into them.»

I still have at this point only heard bits of the real Wiseau speaking, and that's during the end credits of the movie, when they show the side - by - side scenes of the original film and The Disaster Artist's version.

When Andrew decides to contribute a film to the Humpday fest (a real - life amateur porno festival sponsored by Seattle alternative weekly The Stranger), a piece of art that will «push boundaries,» Ben proposes (in front of a crowd of artist - types) that the two of them — two straight men — have sex on camera as a radical performance piece.

It's easy to forget that the baseline attractiveness of Hollywood is so ridiculously high when you spend all day watching TV shows and movies, but The Disaster Artist throws this into sharp relief: if you don't look just right in real life, you'll look totally wrong on the big screen.

Active technology is superior for fine work such as capturing handwriting or making thicker lines when you press harder, as artists do with real pens and brushes, or offering special features such as an «eraser» on the opposite end of the stylus.

You can learn more about the value of your work when you pre-order the paperback version of Real Artists Don't Starve.

He sets out to tell a semi-autobiographical story in the hands of a host of talented comic artists featuring the brutal honesty of real life when looking for love.

So, even when we started a new track, we used some generic assets previously made: houses, rocks, fences, lakes... artists will replace them pretty quick but it will improve their comprehension and help us test the track in real conditions.

It is a way to make the artist's experience real and compelling, and when this is accomplished in partnership with a kindred audience that's all the accomplishment that's required.

In the NYTimes, Martha Schwendener reports: «The show at the Parrish, «All the More Real: Portrayals of Intimacy and Empathy,» stems from discussions between Mr. Fischl and Ms. Falkenberg, who met when Mr. Fischl saw a film at the museum about the strategies artists use to elicit responses from viewers.

This work by British artist Chris Ofili, in which a black Virgin Mary is depicted adorned with real elephant dung, was at the centre of a major controversy in 1999 when New York's then - mayor Rudy Giuliani tried to cut funding to the Brooklyn Museum for exhibiting the painting.

When people say stuff like that to me, I'm like, «You're not a real artist.

MTW He's not joking when he says the exhibition is «a lesson in how to be a real artist», and things like, «Great drawing has to be done from life» — and, «She's looking in the mirror and striking a pose, just like the old masters did.

This sense of coexistence became even more real when one of the artists showed up to Disappear Here and JazzPOP — this time not showcasing his wood carvings, but instead, his dance moves.

Ted started painting for real in 1987 when a friend gave him some paint for Christmas with a card that read, «You keep saying you are an artist, paint!»

Often as not, when insurance does not cover the full value of unsold work, the real hit is taken by the artist or (for work on consignment) a collector, to the point that one wonders why more dealers did not have the foresight to move things out of the basement.

From May 26 thru June 23, Taylor De Cordoba will present Life is Real Only Then When I Am, a solo show by New York - based artist Timothy Hull.

Back in the early»70s, when she couldn't get reviewed, she broke into the art world by cooking up fictional characters who functioned in the «real» world and cast a light on an unknown artist named Lynn Hershman.

The RA has real cheek to present itself as a champion of the new with its Shonibare awning when it has tried so hard for centuries to fetter British artists

begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city.

As Irving Sandler rather argues, the lack of real «polemics» in art today — not merely in painting, but in contemporary art in general — makes it harder on today's artists» careers compared to artists who lived in times when artists publicly thrashed out their «positions» on art and aligned themselves with art movements.

However, when artists can choose from the thousands of drawings in the Morgan Library, the real trick is knowing when to stop.

The transmutation of art that's based on the Internet from online - only platforms to materializations in real life leads to an interesting question: what will this work look like 100 years from now, when the technologies that these artists are using, commenting on, and imitating either no longer exist or have been radically transformed?

When he unveiled his often lukewarm collaborative pieces with Warhol in 1985, the New York Times savaged him as an «art - world mascot» and an «all too willing accessory,» as if he were merely an instrument in the hands of the older, white, artist (in actuality, as Boom for Real shows, the pair shared a genuine artistic affinity, and were mutually beguiled by each other's work).

The bed was presented in the state that Emin claimed it had been when she had not got up from it for more than few days, due to suicidal depression brought on by relationship difficulties.In 1999, using Japanese tourists as their cover, two Chinese artists, Cai Yuan and Jian Jun Xi (who work together under the name Mad For Real), bounded half - naked on to Tracey Emin's My Bed at the Tate Gallery, had a slightly half - hearted pillow fight and then shouted something unfathomable in Mandarin.

His real break with Moore came in 1959, when he won a travel grant to America, where his visits to studios and museums and meetings with young artists pushing at the frontiers of design fuelled his own ambition and imagination.

«Even though the artists are looking back at that post-WWII moment, when the magazines were starting, there is a very real, living feeling as well, connected to making art today with materials that aren't of this physical moment.»

Ebony wrote about architects and artists, the share cropper who sent his nine kids to college, real African Americans at a time when everyone else only covered them as entertainers and athletes.»

Group Exhibitions 2018 Stretch / Pulled / Inked, Impact Arts, as part of the Glasgow International, Glasgow (upcoming) Glasshouse, Glasgow Botanic Gardens, Glasgow (upcoming) 2017 Amazing Perplexity, Curated by Nathalie Hoyos, Rainald Schumacher and Alevtina Kakhidze, Residents Group Exhibition of FACE — Artist Residence Program in Kiev 2016 Factually Real Illusions, curated by Lorna McDowell, Cookhouse Gallery Chelsea College of Art, London Semi-Gloss, Semi-Permeable, Glasgow International Festival 2015 International Women's Contemporary Art Forum — A Crossing Section of Art, BankART Studio NYK, Yokohama Finite Project Altered When Open, David Dale Gallery, Glasgow Abstraction from Architecture, Edinburgh Print Studio Hold, Sway, Generator Projects, Dundee 2013 Editionshow, Chert, Berlin You're my wife now, Infernoesque project space, Berlin Every Day, GoMA, Gallery of Modern Art, Glasgow 2012 Tintenfisch, CNEAI =, Paris, organized by Chert & Motto in the frame of Berlin - Paris exchange 2011 Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City University of New York Annuale, Edinburgh 2010 Drinnen & Draussen, Chert, Berlin A man, some chickens and one corner, with Petrit Halilaj and Heike Kabisch, Berlin — Paris exchange, Galerie Carlos Cardenas, Paris, with Chert, Berlin 2009 Spacioux, curated by Michela Arfiero, Paola Gallio, Daniela Lotta, Lambretto Art Project, Milan Motto & Chert & Roses, Tulips & Roses, Vilnius 2008 You can't hide your love forever, LH Gallery, Paris And So It Goes, Art news Projects, Berlin MFA Degree Show, Tramway, Glasgow Flock, Bezalel Gallery, Tel Aviv 2007 MFA Interim show, Glasgow School of Art, Glasgow Devil Blue Dress, The Factory, Impact Arts, Glasgow 2005 Tercet, Intermedia, King Street, Glasgow 2004 Pieces, The Factory, Impact Arts, Glasgow

The Turner's popularisation of contemporary British art has often been criticised as a coarse reduction of artistic values, but the example of the old RA show suggests that when art becomes visible to a mass public, there is the potential for artists to rise to the occasion and make art with real ambition and significance.

Focusing primarily on Indonesian and Southeast Asian contemporary artists, he has curated solo and group exhibitions with different institutions, including Yasumasa Morimura (2001); Ecstaticus Mundi (2002); AVICON — Asia Video Art Conference (2004, co-curated with Videoart Center Tokyo); Bandung New Emergence (2006; 2008; 2011); I / CON, solo exhibition of Agus Suwage (2007); Nobody's Land - Heri Dono (2008); The Fitting Room - Mella Jaarsma (2009); Loss of the Real (2010); Java's Machine: Family Chronicles - Jompet Kuswidananto (2011); Human Resource Development - Ade Darmawan (2012); copy select all — Poklong Anading (2013); Threshold - Takashi Kuribayashi (2013), and; Things Happen when We Remember — FX Harsono (2014).

She explains in an undated artist statement, «The turning point was in 1972, when I realized that my paintings were not real enough for what I wanted the image to convey and by real I mean I wanted my images to have power, to be magic.»

From the art world to the real world, artists in the exhibition collectively express what happens when culture is used as will to power.

When Harry sent an e-mail to Chris asking him to write an artist's statement or describe what he was putting into the show the only response he received was a text message that said - «You're not my real mum, you can't tell me what to do.»

Often taking the form of landscapes, the Canadian - born, Newcastle, England - based artist's presentations - containing combinations of real and constructed imagery - are symbolic of the multiple realities we perceive when we engage contemporary media culture.

And folks in the audience seemed genuine when talking about her as a «real deal» performance artist.

Matthew Langley «s List Langley, AKA @MatthewLangley, is a Brooklyn / DC artist who blogs at Matthew Langley Artblog Here's 32 from me — the whole «masterpiece» thing is a real hang up, especially when it comes to anything after 1970.

Robert Rauschenberg Foundation's newly appointed Executive Director Kathy Halbreich shared «when something unsettles our field as urgently as Hurricane Maria did to the thriving artists» community in Puerto Rico, prompt and collaborative action can make a real difference to people's sense of immediate security as well as their ability to imagine a productive future.

But the real highlight for the pair came last night, when Phillips set a new artist record with the sale of their absurdist raft of objects, including a brood of suckling piglets, for # 602,500.

Victoria: It's interesting when politics and the real world have charged into the artist's work.

Indeed, the artist somewhat reflects on its continuum, and sometimes even literally when he installed real mirrors in his shows.

When the Stars Begin to Fall: Imagination and the American South features 35 artists of different generations, working in different mediums, who share an interest in the American South as both a real and fabled place.

Westphalia suggests that even when it comes to making sense of true events in real places, landscape on film becomes synonymous with the artist's point of view.

The main aim of the Art Car Boot Fair is to be a day when the artists let their hair down and for all - comers to engage with art and the artists in an informal way, and to pick up some real art bargains to boot.

When Light and Space artists began working with (and re-creating) natural phenomena fifty years ago, the line between real, embodied experience and artificial experience was much more clearly drawn.

By contrast, Tate has tended to champion what it sees as the «real» international avant garde, artists who are big on theory, and weaker when it comes to image - making power.

During the 50's, when Abstract Expressionism reigned, Schapiro dragged Barnett Newman and Adolph Gottlieb up to Columbia to speak to a roomful of awed art - history students; they had never seen real live artists before.