Sentences with phrase «relation to other artists»

and understand themselves only in relation to other artists which is one of the reasons why she holds and attends lectures and discussions worldwide the moca ahmanson curatorial fellow said ms butler â $ marlene dumas is one of the most intriguing painters working today her exploration of portraiture and (4 words, 13 characters)

[24] Marlene Dumas has also stated that she believes an artist defines and understand themselves only in relation to other artists, which is one of the reasons why she holds and attends lectures and discussions worldwide.

«And while «Jason Moran» is a solo show, it's also a group exhibition in the way we understand innovation and experimentation in relation to other artists.»

Not exact matches

It's an old question, the relation of an artist's character to his art, and we would say that even if they're not integral to each other, they're not separable either.

In this piece, Geller tells us: «All other sectors of the industry have consolidated in response to digital disruption — publishers, booksellers, wholesalers and public relations agencies — and yet there are still more than 300 agencies listed in The Writers» & Artists» Yearbook 2015.»

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Seemingly incoherent in their relations with each other, they are all images to which the artist can relate strongly on a personal level.

Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist's writings and other works.

My father is William Julius Wilson, a famous academic in the field of urban poverty and race relations; my mother spent most of her young life in a convent then «busted out» to raise a family and started making artists books; my brother is a spiritual speaker and Bitcoin enthusiast; my one half sister is a powerhouse business woman; the other half sister was a lesbian erotica writer but transitioned to writing romance novels and is now a conservative and a huge Trump supporter.

Los Angeles - based artists Jesse Fleming and Pat O'Neill, although distinct in their process and subject matter, each raises questions in their film and video work about the self in relation to others, collective norms, and the built environment.

The paintings of the two artists were arranged on the walls so that the viewer could see the work of one painter with that of the other close by, moving chronologically through time so that, in walking through the exhibition, the viewer could see how each artist developed over time, both on his own, as well as in relation to the other.

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

A Rail Curatorial Project lead by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

Unfolding in three parts, this exhibition examines the physical body through the lens of artists who have represented tactile figures and forms in vibrant ways to question how we experience ourselves in relation to others.

Glass Gallery Curated by Phong Bui and Rail Curatorial Projects A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, this exhibition focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

Scholarship by Yve - Alain Bois revisits the power of Sandback's immateriality in the context of the vertical constructions while Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist's writings and other works from the 1980s.

Only in Your Way features distinct new works by each artist, conceived to be in conversation with each other utilizing the gallery space and considering ideas about sculptural objects and architecture in relation to the female body.

James Meyer's catalogue essay on Hodgkin, which locates the artist within his British context, as well as in relation to Donald Judd, Frank Stella and Jasper Johns, among others, goes a long way to redressing many of the problems Hodgkin himself puts in the way of his own achievement.

She was previously a curator at The Drawing Center in New York City, where she co-directed Open Sessions, a two - year residency / exhibition hybrid program organized with local, national, and international artists, supporting drawing practices in relation to film, architecture, sculpture, music, and other fields.

A Rail Curatorial Project led by Phong Bui of the Brooklyn Rail, OCCUPY MANA focuses on artists whose practice interrogates the contemporary social climate, including issues surrounding immigration, the environment, human rights and equality, foreign relations, among others, ultimately drawing attention to art as it functions as a lens for better understanding the time in which we live.

What makes the exhibition doubly persuasive is the affinity one senses the artists have for each others» work, evident in the unforced relations connecting one artist's project to another's.

On the other, the combination of the works, in relation to each other and within the gallery setting, inspires new revelations about those works and the relationship between the artists.

Focused on the social relations that debt engenders, To Have and To Owe has invited a range of artists, theorists, designers and others to offer lectures, performances, workshops, infographics, discussions, quilting sessions, visualizations, exploring the subject of debt and opening up a space in which its aesthetic and social dimensions may be considered as part of its economic registeTo Have and To Owe has invited a range of artists, theorists, designers and others to offer lectures, performances, workshops, infographics, discussions, quilting sessions, visualizations, exploring the subject of debt and opening up a space in which its aesthetic and social dimensions may be considered as part of its economic registeTo Owe has invited a range of artists, theorists, designers and others to offer lectures, performances, workshops, infographics, discussions, quilting sessions, visualizations, exploring the subject of debt and opening up a space in which its aesthetic and social dimensions may be considered as part of its economic registeto offer lectures, performances, workshops, infographics, discussions, quilting sessions, visualizations, exploring the subject of debt and opening up a space in which its aesthetic and social dimensions may be considered as part of its economic register.

With no definitive barrier between home and studio (whether by choice or not), artists mine their environs or those of others to source ideas or to enact works — a process which cultivates a nuanced intellectual and creative engagement to concepts of home in relation to states of being.

Like the other subjects she has worked with, these people are perfect strangers — only their blood relation to the artist adds a new layer of discomfort to Nakadate's ethical investigations.

It was not about the individual artist's «mark» ---- not about who did what first, but rather about an engagement with the paint ---- the «give and take» of shapes, strokes, and space in relation to each other and to the painting rectangle.

The artists will address these topics in relation to their own photographs, which have captured often marginalized communities on the East Coast and in the Southern U.S., among other areas.

Through a presentation within the Smart Museum and new commissions in public spaces, the exhibition will introduce new artists and contextualize their work in relation to other influential artists, from the Italian Futurists and Gordon Matta - Clark to Marina Abramović and Rirkrit Tiravanija.

In the portraits of Diego, the artist's long - suffering brother undergoes continuous metamorphosis, his head shrinking in relation to his mountainous torso in one iteration while in two others the waxing and waning head flattens into an axe - blade thinness.

She has been influenced by a contemplation of this interplay in other artists, and the allusive possibilities of abstraction to give form to this relation, most notably in FIELDS, an ongoing series of beeswax and mixed media drawings on paper.

Interestingly, while turning the viewer's attention to what one would normally dismiss — and certainly not warrant close inspection — the work takes various forms and affects, not only in relation to the space it is exhibited in and in terms of scale, but also in accordance to its designated context, be it a solo or a group exhibition (in the latter case shaping the viewing experience of other artists» works on display).

«Common Time» can be viewed in relation to other recent exhibitions that have examined artists working in collaborative, cross-disciplinary modes.

Funded by the Hong Kong Arts Development Council (HKADC) and private donations, it seeks to establish and maintain a platform for artists and other art practitioners to realize their vision in relation to their immediate and extended communities through the production of artistic works, exhibitions and curatorial projects as well as through dialogue, critical analysis, publications, research, education and cultural exchange.

Prior to the series of events at Studio Voltaire, the artists have developed the project with an exchange of open letters that reflect on each artist's queer and feminist identity, their relationship to each other, and how to present this set of relations to the public.

Terror and Beauty will explore the two artists» shared fascination with the human form in relation to the violence of the Second World War and other key events from the 20th century.

There is also within this show, and coming out of my conversations with artists, how black becomes a force within the context of other colors, which goes back to [Henri] Matisse and how he used to talk about black in relation with other colors.

The following artists address race in a variety of ways through their work — some spark a dialogue in relation to the artistic cannon, others with gender roles, and some not explicitly at all.

In light of recent controversies over the use or absence of Black bodies in relation to abstract painting (most notably the controversy of the Dana Schutz painting at New York's Whitney museum), and the ahistorical suspicion of abstraction as a form of practice that manifest in some of the discourse, it is important that Black artists» role as innovators in the field of abstraction is given due significance here through the works of Whitten, Bowling, and others.

One of the most important was the Black Mountain College, from which a narrative or causal relation to each other as interdisciplinary artists, provided a collective marking.

His offhand nods to other artists in addition to Kusama — a text - based painting plays on Ruscha — is Strother's way of situating his work in relation to what he sees as important art historical precedents.

What makes Marlene Dumas a really significant artist for us to show in relation to other art that is being made now and other art that has been made?

«However, if one looks at them in relation to other great artists of that generation, there is still a lot of room for growth.»

Other lawsuits have invoked the same principle in relation to art, Charles and Thomas Danziger noted, citing a 1982 case centered around two water - damaged pieces artist Frank Stella left outside his studio.

Interpersonal relations and interactions are central to her practice, and many of her performance - based works involve collaborations with other artists.

The artists featured in this show explore one of the most basic social concepts by which individuals, families, nations, and regions understand themselves in relation to others — the idea of «home.»

It occurs to me that the dialogue taking place here between these artists, past and present, includes an element of positioning in relation to Modernism, itself a past for the contemporary painters shown here but present or future for the others.

Event Planning and Entertainment Management — Duties & Responsibilities Lead through example with consistent work ethic, attitude, and professionalism, performing event administration functions, overseeing client management operations and ensuring both efficient organizational communications and processes Collaborate in all phases of strategic planning with other members of management team and third - party vendors, including resource management, logistics, contract negotiations, marketing and public relations, issue resolution and client services Demonstrate leadership with respect to event direction, artist and talent development, and strategic marketing campaigns Provide continuous assessment of key considerations, potential issues, and resources utilization, while furnishing oversight and guidance regarding effective policies and procedures, process management and participation trends Perform needs - based and situational assessments of policies and procedures, utilizing several tools, to evaluate event effectiveness, improve operational efficiency, manage and reduce costs, and promote both employee and client satisfaction Identify and utilize talent among team members with focused training efforts, targeted professional recruitment, and the promotion of a performance - based work environment that leverages individual talents for group benefit Develop and supervise support staff to aid in effective marketing, relations, administration, and event operations, delegating important tasks and assignments while providing timely follow - up to ensure task completion Promote the effective execution of all administrative and financial aspects of event and client management, while analyzing and presenting important information to executive staff, client representatives, stakeholders, and other relevant parties Address key client and management queries and resolve them in an expedited manner, promoting sustained client growth through retention, word - of - mouth marketing and the attainment of talent engagements Create and implement client marketing and operational strategies while tracking performance versus internal and external benchmarks, focusing on both revenue generation as well as cost control Maintain a strong working knowledge of related products, services, techniques and relevant tools