Sentences with phrase «real interests in art»

Before De Kooning I had no real interest in art.

Not exact matches

What might your best stock holding, a piece of real estate, shares in a privately held company, interests in private equity, venture or hedge funds, fine art collectibles, and bitcoin have in common?

«The things that go into making a great coach area: 1st: being a really compassionate caring person that has a real interest in people growing... the art of coaching begins with [a real] understanding [of] the value of the person in front of you... that high regard that a person has for another is at the center of GREAT coaching... That space between... the outcome and what [we say] to them... defines young minds, how they think about themselves taking the credibility from an adult voice.

That's madness...) has given me a real love for all things beauty and skincare related, and whilst I still consider myself a total dunce on the subject, I'm always so interested in testing new products, finding myself the perfect skincare routine, and perfecting the art of creating a beautiful day - to - day makeup look.

I have interest in many things other than music like photography, travelling, art, cooking etc, so it's real easy to get start on a conversation.

It's been ten years since his last movie, and many may stay away if they can't divorce the art from the artist, but it would be very interesting to see if this awards baity film has a real soul to it in retelling a story of a man who has seen far too much bloodshed and loss on the battlefield.

Throw in some martial arts with Jet Li and Jason Statham, a real cage fighter in Randy Couture, and then top it off with the always quirky and interesting Eric Roberts and Mickey Rourke and you have a movie that appeals to the macho man in all of us.

«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.

They start out in high school, and it's a bit manic, but this series really provides an interesting glimpse at the manga biz (some characters are supposedly based on real Shonen Jump editors) and the clean - lined art is a perfect fit with the subject matter.

It's interesting because the main theme of the book is something called «mimesis», which is the way reality reflects art and vice-versa (it's the main theme because of my desire to make Solarversia for real so that people can actually play it), so this was an example of mimesis in action — totally crazy.

That being said, an unwillingness to set fiction in real locations isn't always motivated by a desire to make interesting art.

It feels like a different kind of fighting game for folks interested in real - life martial arts, with a cumbersome grappling system and some branded bumbling with numbers and menus to appeal to the core audience.

I'm interested in how art affects what some people call «The Real World» - the workplace, the world of work, the world of business.

It's rather difficult in a way to network with my immediate circle of friends and family, because, well, almost none of them have a background or real interest in fine art, especially serious or challenging art.

One of the most active patrons on the international art scene, art collector Richard Chang is also director of Tira Holdings, an investment firm with interests in media, real estate, hospitality and fashion.

This is embodied both in the biennial's sponsorship — represented most egregiously in its sponsorship by Sotheby's, which has locked out its unionized art handlers — and the museum's imminent move to the Meat Packing District, a neighborhood where artists once lived and worked which is now a gentrified tourist destination that serves the interests of the real estate industry.

In reaction to the swelling art world in New York, Mr. Deitch said, «artists are now more and more interested in this idea of the salon and building a real community with other artists.&raquIn reaction to the swelling art world in New York, Mr. Deitch said, «artists are now more and more interested in this idea of the salon and building a real community with other artists.&raquin New York, Mr. Deitch said, «artists are now more and more interested in this idea of the salon and building a real community with other artists.&raquin this idea of the salon and building a real community with other artists.»

SVITER art group and Ivan Svitlychnyi, whose work overlaps with Mikhailov's interest in the mutation of information and data echo chambers, will present a site - specific sound installation in which drum machines and electronic synthesizers create a unique algorithm that converts data in and around the pavilion into audio tracks in real time.

One of the most active patrons on the international art scene, art collector Richard Chang is also director of Tira Holdings, an \ ninvestment firm with interests in media, real estate, hospitality and fashion.

Leaving high school before formally finishing, Gimenez pursued her interest in the arts: she was active in theatre, film and music, until finally acknowledging that her greatest passion lay in painting, or as she suggests «echte malerei,» (real painting).

«There is a real passion for the art, a genuine interest, and they are not only interested in learning about the work of an artist, they are taking the next step and buying it.»

In a period in which material formalism, digital space and the artist as archivist have been the dominant tropes in contemporary art, from the shiny empty Minimalism of Jacob Kassay or Jordan Wolfson's miserable stripper robot, to Camille Henrot's hyper - decontextualisation of historic artefacts, then Kjartansson's interest in real - world interaction has given his work a dedicated following (and a Performa award to bootIn a period in which material formalism, digital space and the artist as archivist have been the dominant tropes in contemporary art, from the shiny empty Minimalism of Jacob Kassay or Jordan Wolfson's miserable stripper robot, to Camille Henrot's hyper - decontextualisation of historic artefacts, then Kjartansson's interest in real - world interaction has given his work a dedicated following (and a Performa award to bootin which material formalism, digital space and the artist as archivist have been the dominant tropes in contemporary art, from the shiny empty Minimalism of Jacob Kassay or Jordan Wolfson's miserable stripper robot, to Camille Henrot's hyper - decontextualisation of historic artefacts, then Kjartansson's interest in real - world interaction has given his work a dedicated following (and a Performa award to bootin contemporary art, from the shiny empty Minimalism of Jacob Kassay or Jordan Wolfson's miserable stripper robot, to Camille Henrot's hyper - decontextualisation of historic artefacts, then Kjartansson's interest in real - world interaction has given his work a dedicated following (and a Performa award to bootin real - world interaction has given his work a dedicated following (and a Performa award to boot).

However, despite a flourishing career as an adds illustrator, Hopper rather struggled to find any real interest in his own art as the creative fire stubornly avoided him during the 1910s.

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.»

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?

«If you ask me personally to say what are the most interesting, vibrant things going on in the art world now, I'd say they are the ones that are addressing real situations and actually trying to take part in the world,» he said.

Who shall determine how much may be attributed to real art interest and how much to curiosity, of the five thousand dollars and more in entrance fees, at twenty - five cents each, received by the International Exhibition of Modern Art in the 69 Regiment Armory during its first weart interest and how much to curiosity, of the five thousand dollars and more in entrance fees, at twenty - five cents each, received by the International Exhibition of Modern Art in the 69 Regiment Armory during its first weArt in the 69 Regiment Armory during its first week?

Art21 was founded in 1997 with the belief that contemporary visual art is of real interest and value to a broad audience.

Inviting the viewer to enter a space charged with symbolic elements, from the more obvious to the more covert, that configure the multiple realities and readings which give life to the artist's personal universe, «Something old, something new, something borrowed» essentially speaks of personal records and comforts, of the past and the present, of what was and what is — a series of reflections that convey a repertoire of emotions, interests, and stories particularly important to the author: distant family recollections, but also recent intimate memories; pleasant re-connections with domesticity after long periods of travel in the real world, but also disconnections and ironic provocations with the virtual world of social media; a long relationship with the universe of animation and video games, but also another with themes of classical representation from the history of art.

A fine art educator, his is a time - based practice with an ongoing interest in the relationship between the real and the fictional.

The week got off to an interesting start on Monday evening with an invitation to traipse the grounds of the now - closed Getty gas station in Chelsea, which real - estate developer Michael Shvo and art dealer Paul Kasmin have temporarily transformed into a grassy sheep farm populated by the concrete sculptures of Francois - Xavier Lalanne.

I'm more interested in making connections with the real world than with art history, except when I'm using it as a given, a readymade in the viewer's mind in a way.

For his project «A work in situ», at REDCAT, John Knight revisits this relationship between two cohabiting institutions (Roy and Edna Disney CalArts Theater and Walt Disney Concert Hall), in today's highly developed «cultural corridor» of downtown Los Angeles, considering the relationship between space, architecture, contemporary arts and real estate.Since the late «60s, John Knight has pioneered the practices of site - specificity and institutional critique, always interested in interrogating the underlying geopolitical and economic systems implicit in everyday convention.

Combining his lifelong interests in real estate, art, and design, he has found creative expression in these innovative, one - of - a-kind pieces of jewelry.

His real interest however lay in buying and selling art: indeed his later wealth came about largely due to the appreciation of his personal art collection.

From 1979 until 1992 he, along with Susan Morgan, published and edited REAL LIFE Magazine, an irregular publication by and about younger artists interested in the relationship between art and life.

About the artist A fine art educator, Kevin Atherton's is a time - based practice with an ongoing interest in the relationship between the real and the fictional.

Two etchings made shortly after her return demonstrate how Nevelson synthesized a surrealist interest in dream imagery, her experience of Maya art, and her own preoccupations with royalty (she considered herself to have queenly qualities), marriage (to her work), and death (real and symbolic).

Select group exhibitions featuring her work include Selections from the Permanent Collection: Catherine Opie and Sterling Ruby, Museum of Contemporary Art, Los Angeles (2017); Breaking News, Getty Museum, Los Angeles (2016 - 2017); A Slow Succession with Many Interruptions, San Francisco Museum of Modern Art, CA (2016 - 2017); Human Interest: Portraits from the Whitney's Collection, Whitney Museum of American Art, New York (2016); Who Shot Sports: A Photographic History, Brooklyn Museum, NY (2016); Perfect Likeness: Photography and Composition, Hammer Museum, Los Angeles (2015); Residue: The Persistence of the Real, Vancouver Art Gallery, Canada (2015); America Is Hard to See, Whitney Museum of American Art, New York (2015); Storylines: Contemporary Art at the Guggenheim, Solomon R. Guggenheim Museum, New York (2015); Unbound: Contemporary Art After Frida Kahlo, Museum of Contemporary Art Chicago (2014); and Role Models: Feminine Identity in Contemporary American Photography, National Museum of Women in the Arts, Washington, DC (2008).

Others that sound interesting: Omnity, a tool for patent attorneys that finds hidden connections among documents to facilitate patent prosecutions and prior art searches; and StoryCloud, a video deposition service that streams to the cloud in real time, enabling immediate access to the video by the entire litigation team.

Stay around if you're interested in the uncommon art of dolls, curious to see materials, behind the scenes and real struggles or accomplishments in a daily life of a doll artist.

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Another friend that Chris and I met through our martial arts training, Steve, expressed an interest in real estate investment to us this past summer.

China's wealthy real estate investors also valued space to display their massive art collections, while U.S. buyers were mostly interested in having a multi-car collector's garage, according to the report.