Sentences with phrase «scale art while»

Not exact matches

While many were perceived as contenders before the announcement, a handful of new titles appeared on today's list including Napping Princess and Sword Art Online: The Movie — Ordinal Scale while other titles, like Lu Over the Wall and Nutjob 2: Nutty By Nature wereWhile many were perceived as contenders before the announcement, a handful of new titles appeared on today's list including Napping Princess and Sword Art Online: The Movie — Ordinal Scale while other titles, like Lu Over the Wall and Nutjob 2: Nutty By Nature werewhile other titles, like Lu Over the Wall and Nutjob 2: Nutty By Nature were not.

While the actual art style of the new visuals is sure to be subjective, the 3D polygonal models should scale much better to the different resolutions of all the iOS and Android devices out there.

Although I immersed myself in as much of the arts - related research as possible while planning this program (and explored the many large - and small - scale art initiatives), I knew I'd eventually have to tackle — and really understand — my deeply rooted assumptions about teaching and learning if I wanted to form a truly well - rounded program.

Following the hotel's large scale architectural restoration of $ 139 million in 2008, this multi-million dollar renovation led by Chicago - based firm The Gettys Group refreshes the original work of renowned Chicago architectural firm Marshall and Fox, highlighting the early twenty - first century grandeur and craftsmanship while incorporating state - of - the - art technology and modern amenities.

In the sitting and dining areas, silk rugs, large - scale artwork and Art Deco chandeliers lend a refined elegance, while wide sliding doors let you open the living spaces to the lanai — and the warm ocean breezes.

While the game is no technical powerhouse, with rough edges and blurry textures in abundance, the art - team have been hard at work to give Darksiders II a unique stylised look that borrows heavily in places from classic high - fantasy and to create massive environments with a wonderous sense of scale to them, giving the entirety of Death's journey a grandiose feeling that many other games are lacking.

Today, would - be indie developers have the tools to go head - to - head with even the biggest studios, albeit typically on a smaller scale, as well as explore more cost - effective options like pixel art and procedural 3D, while services like Kickstarter and Fig offer a way of seeking funding without immediately selling out.

While Tony Tasset may modestly credit a large portion of his creative inspiration to «more successful artists,» the art world has long been eyeing his large - scale multimedia works with enthusiastic appreciation, fittingly so as his enormous «pop conceptual» monuments are meant to be ogled.

While his work bears similarities to that of American abstract expressionist painters such as Mark Rothko, Jules Olitski and Barnett Newman, Hoyland was keen to avoid what he called the «cul - de-sac» of Rothko's formalism and the erasure of all self and subject matter in painting as championed by the American critic Clement Greenberg.1 The paintings on show here exhibit Hoyland's equal emphasis on emotion, human scale, the visibility of the art - making process and the conception of a painting as the product of an individual and a time.

Her exhibition at Modern Art emphasises the breadth of her practice, encompassing work of varying scales and production techniques that respond to the space of the gallery, while also honing in on the specificity of her distinctive visual vocabulary.

It is co-hosted by the Kunsthalle Düsseldorf and Groninger Museum in Netherlands, while the latter has successfully held a large - scale solo exhibition of Song Dong «Life is Art, Art is Life» from June to November this year.

Pelican Bomb's creative thematic exhibitions and large - scale public projects feature international artists while exploring the intersection of New Orleans» social histories and contemporary art.

Artists such as Nevelson and David Smith became known for large - scale outdoor sculptures and public art, while Aaron Siskind sought to capture the same kind of energy and movement in his photography that Pollock was attempting to evoke through action painting.

This intimate scale encourages dialogue between residents, while the private setting of Storm King Art Center's grounds allows for intense focus on individual practice.

Playful in tone and less reliant upon the exploitative construct of the case - study scenario in such large scale video projects as Them, 2007, and Repetition, 2005, Artur Zmijewski's earlier videos stand in contrast to these somewhat over-determined provocations; while recent Zmijewski productions have adopted a nearly formulaic approach to positioning cultural difference and conflict, and thereby seem to codify the subject as «other» a priori — a risk that critic and art historian Hal Foster has insightfully called the «self - othering» of «the artist as ethnographer» — three earlier Zmijewski works engage a simpler, more agile approach.

Tony Delap, Modern Times III, 1966 Wood, fiberglas and lacquer, 32 x 84 x 38 inches March 7 — April 4, 2009 Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the -LSB-...]

The Human Touch: Selections from the RBC Wealth Management Art Collection features forty - six large - scale paintings, prints, works on paper, and photographs that give insight into the human psyche, while helping us to understand the human condition.

Combining precise geometry with vast scale, his remarkable installations gave fresh impact and new meaning to the experience of looking at art, while enhancing and expanding the appreciation of the surrounding world.

Robert Rauschenberg used a stuffed eagle in his 1959 work Canyon, while Damien Hirst shocked the art world with his large scale sculptures that featured taxidermied animals submerged in formaldehyde, calling the viewer to consider his or her own mortality.

For their second consecutive participation in ART - O-RAMA, Munich - based gallery Deborah Schamoni is pleased to present a new project by Davide Stucchi: a sculpture that consists in casts, scale 1:1 of the bodies of the artist and his boyfriend while swimming - sleeping, made of soap and then «washed» so that the facial features of the figures get «dispersed».

Other Photo - Text works continue the National City paintings on a larger scale, while in A 1968 Painting (1966 - 68) Baldessari photographically appropriates a work of art, a painting by Frank Stella, and includes an eponymous and self - descriptive text below.

These enclosed tranches of landscape, culturally displaced and geopolitically charged, relate to Land Art exponent Robert Smithson's Non-Site series; while other homages to recent heroes of art history include Blow Up, which reveals itself as a playful destruction of the photographic work of German couple Bernd and Hilla Becher and the life - sized, white ceramic Pig (2012) which is both a scaled - up version of a piggy bank from Monk's childhood and an imagining of an unrealised sculpture by Jeff KooArt exponent Robert Smithson's Non-Site series; while other homages to recent heroes of art history include Blow Up, which reveals itself as a playful destruction of the photographic work of German couple Bernd and Hilla Becher and the life - sized, white ceramic Pig (2012) which is both a scaled - up version of a piggy bank from Monk's childhood and an imagining of an unrealised sculpture by Jeff Kooart history include Blow Up, which reveals itself as a playful destruction of the photographic work of German couple Bernd and Hilla Becher and the life - sized, white ceramic Pig (2012) which is both a scaled - up version of a piggy bank from Monk's childhood and an imagining of an unrealised sculpture by Jeff Koons.

While the history of art is punctuated with epic painting projects by men — from Giotto to Michelangelo to Diego Rivera — the director of SFMoMA, Neal Benezra, said he was «hard - pressed to think of another woman painter working at this scale in a public place.»

Benglis's willingness and ability to mix up gendered tropes with her heroic scales and sparkly colorful finishes while laughing irreverently at views of every moral stripe set her apart from the common customs of feminism and the sexism of the art world.

In the run up to his major exhibition, Academy of Tal R at Louisiana Museum of Modern Art, Denmark (until 10 September 2017), the artist was interviewed by Kasper Bech Dyg and Marc - Christoph Wagner over the course of six months while he was in the process of making his series of large - scale railcar paintings, Habakuk.

And while the arts community has felt the loss of these and others, two spaces opened side by side in Chinatown at the end of 2016 and proved to operate within a sustainable (small yet vital) scale: Situations and Fierman.

At the peak of contemporary - art prices in May 2008, Zeng's oil painting of Red Guards fetched HK$ 75.4 million, while large - scale works averaged HK$ 5 million or more.

It was while working in New York as a sign painter by day and an abstract painter by night that he had the idea to import the giant - scale, broadly painted representational pictures from outdoor advertising into the realm of fine art.

According to Brandon Mickman, a local web developer behind the Bushwick Bomb (a local event listings site which describes itself as an «opinionated source on the most interesting music and happenings near or relevant to the Bushwick transplant universe») and the organizer behind the Bushwick Arts Festival, his event would «provide a new opportunity for a large scale open studios event» while refusing to «exclude artists that do not reside or work in Bushwick.»

And while its title — «Whirls and Twirls (MTA)» — may sound more like an amusement park ride than an artwork, the eye - popping palette and monumental scale are bolder than most of the art in the subways, a surprising visual jolt for the estimated 69,000 commuters who use the station every day.

While Okore's environmentally conscious large - scale wall - sculptures expand the societally imposed classifications of black female art to limitless possibilities, Fullerton - Batten and Kerstens meditate on the transition from adolescence to womanhood and the paternal need to capture the fleeting essence of childhood respectively.

The artist's recent projects and commissions include a large - scale outdoor public art commission for the Seattle Art Museum's Olympic Sculpture Park, where her work — Seattle Cloud Cover ‖ allows visitors to walk through a covered skyway while viewing the city's skyline through tiny holes in multicolored glass; — Blind Blue Landscape ‖, a site - specific commission for the renowned Benesse Art Site in Naoshima, Japan, completed in September 2009; and — Stacked Waters ‖, a site - specific installation created for the cavernous entrance of the Blanton Museum of Art, January 20art commission for the Seattle Art Museum's Olympic Sculpture Park, where her work — Seattle Cloud Cover ‖ allows visitors to walk through a covered skyway while viewing the city's skyline through tiny holes in multicolored glass; — Blind Blue Landscape ‖, a site - specific commission for the renowned Benesse Art Site in Naoshima, Japan, completed in September 2009; and — Stacked Waters ‖, a site - specific installation created for the cavernous entrance of the Blanton Museum of Art, January 20Art Museum's Olympic Sculpture Park, where her work — Seattle Cloud Cover ‖ allows visitors to walk through a covered skyway while viewing the city's skyline through tiny holes in multicolored glass; — Blind Blue Landscape ‖, a site - specific commission for the renowned Benesse Art Site in Naoshima, Japan, completed in September 2009; and — Stacked Waters ‖, a site - specific installation created for the cavernous entrance of the Blanton Museum of Art, January 20Art Site in Naoshima, Japan, completed in September 2009; and — Stacked Waters ‖, a site - specific installation created for the cavernous entrance of the Blanton Museum of Art, January 20Art, January 2009.

Initially staying at the Chelsea Hotel while maintaining an art studio in the Bowery, Arman began with his accumulations of burnt objects («Combustiones») in 1963, before later devoting himself to large - scale public sculptures.

The galleries respond to the evolving character of Still's art, changing scale and proportion, while varying the intensity of light.

«For more than 30 years, the Museum's Concentrations series has showcased large - scale installations of over 50 emerging artists, making the work of contemporary artists more accessible while also continuing the DMA's distinguished history of presenting the art of the present.»

Painter, illustrator, graphic designer and graffiti artist, Rems 182's imagery unites violence, eroticism, and strength in both large - scale and smaller portraits characterised by a use of multiple perspectives that create a unique softness in each image that allows the various expressions to complement each other while revealing the complexities of human emotion Having a background as a graffiti writer his work combines both letter - based and complex figurative images, or as the artist himself explains: «I fuse my graffiti writer language with my modern figurative art experience in perennial tension towards abstract disaggregation.»

While the Houston exhibition presents a carefully considered cross-section of Turrell's work, and The Guggenheim shows ambitious new works, the Los Angeles County Museum of Art is concurrently staging a full - scale retrospective of his career featuring over 50 pieces.

Martin's enormous, sunny canvases are enthusiastic in execution, heroic in scale while also expressing something of the rogue spirit of outsider art.

A large - scale presentation of her texts and images has embellished the facade of the Art Gallery of Ontario in Toronto this summer, while the temporary Stedelijk Museum in Amsterdam (filling in during the main museum's overhaul) opened on Saturday with a Dutch - and - English Kruger installation on prominent display, and the Sprüth Magers Gallery in Berlin is preparing a solo show of her video work («The Globe Shrinks,» to open Friday).

Certainly such collaboration, with the experience Fazzone gained while at Art Basel, could benefit fairs by sharing expertise and achieving economies of scale in, say, VIP programming or communications.

IN / SITU, curated by Executive Director of The Contemporary Austin Louis Grachos, features large - scale installations and site - specific work situated throughout Navy Pier's Festival Hall, while IN / SITU Outside, presented in partnership with the Chicago Park District and the Department of Cultural Affairs and Special Events (DCASE), provides the opportunity for EXPO CHICAGO to present temporary public art installations along the lakefront and throughout Chicago neighborhoods.

On the first floor, the studio space contains three great, large scale paintings by Lynette Yiadom - Boakye — there is a fourth in the space next door — with her characteristically enigmatic cast of characters conjuring all kinds of narrative imaginings, while hidden away up a roped - off staircase is a work by perennial provocatrice Klara Lidén; Untitled (Trash Can), from the group of works with which she won the German blauorange Art Prize in 2010.

Reviewing the Nelson exhibition in Art Practical (November 18, 2009), Christian L. Frock observed, «The role of this collection within the rhetoric of a contemporary art collection, assembled outside the «real» art market but still commercial on a small scale, satisfies the collectors» longing to participate in the «serious art world,» while also offering a vague critique of its self - seriousness.&raqArt Practical (November 18, 2009), Christian L. Frock observed, «The role of this collection within the rhetoric of a contemporary art collection, assembled outside the «real» art market but still commercial on a small scale, satisfies the collectors» longing to participate in the «serious art world,» while also offering a vague critique of its self - seriousness.&raqart collection, assembled outside the «real» art market but still commercial on a small scale, satisfies the collectors» longing to participate in the «serious art world,» while also offering a vague critique of its self - seriousness.&raqart market but still commercial on a small scale, satisfies the collectors» longing to participate in the «serious art world,» while also offering a vague critique of its self - seriousness.&raqart world,» while also offering a vague critique of its self - seriousness.»

Ashley's objects exist at an intersection between imposing yet vulnerable, bloated yet sagging, while combining painterly characteristics of Abstract Expressionism, the playfulness of large scale Pop art, and the psychedelic spectrum of Day - Glo fluorescent colors.

While Berry, along with Focus and Platform curators Gabriel Ritter of the Minneapolis Institute of Art, and Jen Mergel, formerly of the Museum of Fine Arts in Boston, offer no indication of shared themes, the prominent showing of contemporary African art, subjects relating to the body and technology (unsurprisingly the overarching concept behind Focus), and emphasis on large - scale works could not be avoided — the latter exemplified by Leonardo Drew's seemingly alive and growing flora-esque installation taking over an entire cornArt, and Jen Mergel, formerly of the Museum of Fine Arts in Boston, offer no indication of shared themes, the prominent showing of contemporary African art, subjects relating to the body and technology (unsurprisingly the overarching concept behind Focus), and emphasis on large - scale works could not be avoided — the latter exemplified by Leonardo Drew's seemingly alive and growing flora-esque installation taking over an entire cornart, subjects relating to the body and technology (unsurprisingly the overarching concept behind Focus), and emphasis on large - scale works could not be avoided — the latter exemplified by Leonardo Drew's seemingly alive and growing flora-esque installation taking over an entire corner.

Catalogues — Publications 2015 «SUPER SUPERSTUDIO», exhibition catalogue, PAC - Pavilion of Contemporary Art, Milan «Ärger im Paradise», exhibition catalogue of the exhibition, Bundeskunsthalle 2014 «The State of a Ghost While Hosted as a Guest», publication from the Villa Romana Fellows, Villa Romana Editions, published by Argo Books ISBN 978 -3-942700-62-7 «Kushtetuta # 2 About Mums & Dads», edited by Petrit Halilaj and Alvaro Urbano, Self - published zines «TRANSLATION ACTS > PERFORMING POLITICS», Concept by Ifrex, Edited by Ifrex and Fotini Kushtetuta, Published by KOSOVO 2.0, Edited by Petrit Halilaj and Alvaro Urbano «MAPPING EVERYTHING», Institut für Raumexperimente (Berlin) and Institut für Landschaftsarchitektur (ETH Zurich) Project Conception: Olafur Eliasson and Guther Vogt, Nicola Eiffler 2012 «STUDIO MAGAZINE # 2», an Architecture and Urbanism Publication 2010 «Ottos impossible talks / Lets start to implement little errors Imposible topics / rescued futures,» Otto Rössler with the Institut für Raumexperimente, edited by Julius von Bismarck, Jeremias Holliger, Laura McLardy, Mathias Sohr, Alvaro Urbano, Euan Williams, Graphic design and concept book by bureau - aeiou 2009 «UNPLANNED: Research and Experiments at the Urban Scale», concept book by Superfront Graphic design by: Do not bend Kønst magazine issue n. 4 Erasing Darkness Pidgin - Magazine issue n. 6 (text by Jose Esparza)

Pushing the edges, often literally, of his primary disciplines, artist Tony DeLap has dedicated close to half a century to exploring the seam between sculpture and painting, merging the boarders of architecture, design and art, reducing to the most basic expression of form, shape, scale and color, while remaining devoted to the search for beauty in the creation of a simple object.

Richard Prince's «New Portraits» series (2015), in which he appropriates Instagram posts, turning them into large - scale prints, is evidence of the influence viral, online imagery has already had on contemporary art photography; and, while we might cringe at the thought of «selfies» and «food porn» someday appearing in MoMA's photographic collection, it is almost imperative that they do.

Elsewhere Costa has deployed coloured polythene bags (rubbish and recycling sacks from different London boroughs) to create geometrical wall pieces akin to Constructivist paintings; while in a series of small - scale paintings, he combines the methods and motifs of embroidery, collage and cartoons Quoting artistic precursors in seemingly degraded materials or formats, Costa playfully interrogates the «real value» of works of art, addressing the question of how unspectacular or even desultory materials might transmute into an art object and vice versa.

While Pace's two downtown galleries, established in 2001 and 2006, often host large - scale installations by younger talents, the 57th Street location sticks with new work by living art world giants like Robert Rauschenberg, Kiki Smith, and Chuck Close.