Sentences with phrase «setting with other artists»

Worked in a team setting with other artists to produce the most effective and aesthetically - appealing design for the client.

Not exact matches

Hinduism, Islam, Buddhism, Shintoism and numerous smaller religions had their beginning on Asian soil and still exert a powerful influence on society To be Christian artist in such a setting means coming to terms with the art forms and images of other religions.

Most importantly, however, the film has a new site where people can set up their own screenings, and purchase copies of the film along with other stuff like screening kits and UNITE FOR LUNCH American Apparel T - shirts designed by the artist who did the illustrations in the film.

Simmons is an internationally known artist with work in the Guggenheim, the Museum of Modern Art, and the Whitney, which is the setting of an opening credit sequence that shows Ellie wandering through an exhibit of others» work.

It allowed you to get a sense of Linklater's ideas as an artist through more laidback means, rather befitting of the nature of his films, as he goes about doing various activities with Benning, such as hiking or playing catch, offering anecdotes to the other artist, instead of delivering filmmaking mantras to camera in an interview set - up.

Writer G. Willow Wilson quickly established a strong supporting cast, key to any successful hero, and artist Adrian Alphona created a world tinged with humor and absurdity that immediately set Kamala apart from her peers and other heroes.

ComicBook is reporting that Mark Millar is set to launch a brand new ongoing Hit - Girl series, which will begin with a four - issue arc entitled «Colombia» from Millar and artist Ricardo Lopez Ortiz, before handing over to other creators including the likes of Kevin Smith, Frank Quitely, Rafael Albuquerque, Pete Milligan, Eduardo Risso, Daniel Way and Kim Jung -LSB-...]

TACs leave teachers with new skill sets and pathways to student achievement; artists with new insights into curriculum development and instruction; and students with a deeper knowledge and ability in the arts and other core content.

- 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

Other artists set to join Rock Band in September are listed below, with specific tracks and additional artists to be announced and made available throughout the month: read more

Through conversations with a wide spectrum of painters, performance artists, sculptors, photographers, video artists, and others, Trigg set out to investigate contemporary artmaking practices.

Taken together, Knowles's art places him squarely in the tradition of Laurie Anderson, Joseph Beuys, Stuart Sherman, Paul Thek, and other twentieth - century artists who opened a large window on do - it - yourself production, interiority and the shifting registers with which an artist's voice can enunciate in social settings.

The collective set up its own space, Hafriyat - Karaköy, in 2006, holding exhibitions and gatherings, and hosting other artists and collectives who deal with similar issues — many of whom I mention below.

More than 85 galleries, art spaces, and artist studios are set to participate in the Chelsea Art Walk 2013, with special events at selected locations, including a pop - up bookstore at David Zwirner (519 West 19th Street), a lecture on Japanese photographer Takuma Nakahira at Yossi Milo (245 Tenth Avenue), and artist receptions at Kips Gallery (511 West 25th Street), International Print Center New York (508 West 26th Street), Onishi Project (521 West 26th Street), among others.

At times the artist uses a canvas support with a rough, open weave; in other works, collage or gold or silver leaf embellish the setting or the subject's attire.

By mixing images found in electronic or print media with imagined subjects, or by performing types of painting (like gestural abstraction or photo - projection) as self - collaboration, the artist sets up dialogs with others into his process.

KT: How did your collaboration with Laurie Jo Reynolds [an artist and campaigner for change in prisons] come about through Tamms Year Ten [a coalition, set up by Reynolds, of prisoners, ex-prisoners, families, artists and other concerned citizens who came together to protest about the Tamms supermax prison in Illinois where men were kept in permanent solitary confinement]?

With seed money from the Ford Foundation, the Archives set out in 1958 to record the life stories of the artists, collectors, dealers, and others who have shaped the visual arts in the United States.

I set up a call - and - response with acquaintances across town and strangers across the world; I have collaborated with other artists, a teenager in Mexico City, a choir, an astrophysicist and finally with my audience.

Though not on view in «Out of Hand,» other artists and workshops have also experimented with the technology, either on their own or in academic / professional settings (such as The Walthamstow Tapestry by Grayson Perry).

Beasley, a graduate of Yale's sculpture program, is an unquestionably rising star, set to join the ranks of other mixed - media artists who deal with signifiers of urban blackness, like Theaster Gates, Rashid Johnson and Hank Willis Thomas.

For instance, in a small side room, US artist Dario Robleto's Setlists for a Setting Sun (The Crystal Palace)(2014) and The Sky, Once Choked with Stars, Will Slowly Darken (2011) are comprised of, among other minerals and objects, sea urchin teeth, homemade crystals, glass domes, audio recordings and mica flakes (which can be found in the mountains of New Mexico).

We originally set out to organize an exhibition about appropriation but found ourselves committed to specific artists — while not to others — who would typically be aligned with the strategy.

EXILE presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generational and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

They occupied an otherwise empty gallery space and interacted with each other and the audience in accordance with a set of rules and games established by the artist.

The exhibition hall becomes a set, a production meeting venue, a group show with other artists» works selected as the backdrop (Christine Bithell, Christopher Whittle, Sean Harvey, Maggie Lister and others).

In this revealing set of conversations — conducted in train stations, hotels, galleries and her own private studio — between Abramovic and curator Hans Ulrich Obrist, with the occasional addition of other interlocutors including Gustav Metzger (the «Old Master of action art»), the artist talks about her work, the strict discipline of her Yugoslav childhood and the process of preparing for her epochal retrospective at the Museum of Modern Art in New York.

We are thrilled to provide our audiences with insight into Turner's masterful technique and process by reuniting the Frick's ports, which themselves have never before been the focus of an exhibition, with a third harbor scene from the Tate on a similar scale, along with other port scenes — both imagined and set in the present — in oil and watercolor that reveal how the artist developed this subject over time.»

In 2014 Thomas co-founded Quindar — a research, recording, and music performance project drawn from NASA's media archives — with Grammy award - winning musician Mikael Jorgensen; the duo performs regularly in museum, festival, and site - specific settings, while collaborating with archivists, graphic designers, visual artists, and other musicians.

Altered States looks at contemporary artists who explore psychedelia (mostly painting and some constructions with a mix of figuration, geometric and Op imagery) against a back drop of 1960s Op Art, figurative and Color Field paintings, as well as original rock posters from concerts at the Fillmore West, Avalon Ballroom and other San Francisco venues to set the stage and create the mood.

While these influences are clearly seen in his use of light boxes and highly controlled set - pieces — both techniques used by other Vancouver artists — this openness is a major part of Graham's practice as it relates to his collaboration with other artists, writers and musicians.

The series, organized by Leandro Villaro, brings to life the work of featured photographers and other notable guest artists and scholars, offering a unique opportunity to engage with them in an intimate setting as they discuss their work and process.

Featuring gallery and invited artists, and with a focus on depictions of houses and other dwelling places, House Work reflects a diversity of physical structures — from lone houses surrounded by nature, to buildings in urban and suburban settings.

Blogging and connecting with other artists in a diverse global internet setting is a very big change from those artists that preceded us in history.

Set within the cityscape of Miami Beach, this year's edition of Public seeks to turn a grouping of separate works by multiple artists into a temporary community of its own, with works in conversation and in dialog with each other — such as Sam Falls» powder - coated aluminum installation with a master work by Charlotte Posenenske — as well as with the location — evident in Michelle Lopez's towering site - specific structure.

Exile presents artists of different generations, often setting these in dialogue with each other and understands art as a collaborative, inter-generatioal and overarching discourse embedded in a complex web of socio - political, gender and personal histories as much as in aesthetic theory and conceptual practice.

Other artworks in the apartment are small enough to walk off with: a beautiful wall - mounted Donald Judd no larger than a bread box; a tabletop set of Richard Pettibone miniatures of paintings by other famous artists; a Cy Twombly drawing on a chrome stand by the wiOther artworks in the apartment are small enough to walk off with: a beautiful wall - mounted Donald Judd no larger than a bread box; a tabletop set of Richard Pettibone miniatures of paintings by other famous artists; a Cy Twombly drawing on a chrome stand by the wiother famous artists; a Cy Twombly drawing on a chrome stand by the window.

Each film follows a single artist as he or she engages with other artists in a shared exhibition setting.

The New York - based artist has been making the most of her extended London visit, transforming the ground floor of the gallery into a domestic setting filled with crocheted furniture and other household items.

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.

And she set up a pop - up gift shop called From Here to Sunday that she stocked with items she and other artists designed.

Other artists specialized in river scenes, from the small pictures of Salomon van Ruysdael with little boats and reed - banks to the large Italianate landscapes of Aelbert Cuyp, where the sun is usually setting over a wide river.

Though there was little in place supporting that decision, he quickly aligned himself with other artists to establish M'Pongo, a group studio where a diverse set of young artists shared ideas and exhibited together to generate their own vibrant scene, which tapped into the high - energy creativity of contemporary Kinshasa.

Recent works include: Bobby Niven's «Bothy Project» whereby he has created perfectly realised spaces for other artists to work and live in; Aaron Williamson's anarchic performance art often displays a politicised and progressive sensibility towards disability and is typically presented to an unsuspecting public as with his current «Demonstrating the World» mobile stage set; Ruth Ewan explores how the past connects to the present, with her recent creation of the French Republican Calendar allowing a beautifully constructed reframing of our daily lives; Henry Coleman pushes the boundaries and subverts the norm by creating very public, sculptural artworks in the heart of the city, including the 2015 Royal Academy installation «A Greater Order», that both question and confound.

The prominent New York artist is displaying a series of oversize word paintings that touch on the story of the Harlem Six (a group of black teenagers who were wrongly accused of murdering a shopkeeper in 1964) as well as a set of neon installations that play with the word «America,» among other works.

Other artists in the show offer more subtle, nuanced objects and images, while remaining just as strongly tethered to a set of meanings and contexts no less fraught with hard truths.

According to director of the art galleries Sydney Jenkins, «With the Collection Dialogue series, we intermittently present collection works with loaned pieces by contemporary artists or from other sources to set up a kind of conversation or dialogue between art objeWith the Collection Dialogue series, we intermittently present collection works with loaned pieces by contemporary artists or from other sources to set up a kind of conversation or dialogue between art objewith loaned pieces by contemporary artists or from other sources to set up a kind of conversation or dialogue between art objects.

While these influences are clearly seen in his use of lightboxes and highly controlled set - pieces — both techniques used by other Vancouver artists — this openness is a major part of Graham's practice as it relates to his collaboration with other artists, writers and musicians.

Believing that his purity of vision could be maintained only if his work could be shown in a setting as a single body, he gifted two large groups of work to the Albright - Knox Art Gallery in Buffalo and the San Francisco Museum of Modern Art, with the restriction that the works could never travel or be shown among other artists» works.

He made important friendships, pivotally with Agnes Martin, the painter whose spiritually inspired minimalism set an example for him, as did other fellow Parsons artists such as Ellsworth Kelly and Tony Smith.