Sentences with phrase «shift in art style»

Not exact matches

Ringer editor - in - chief Sean Fennessey speaks with filmmaker Alex Ross Perry about his quick - and - cheap working style and his shift from art house movies like his latest, «Golden Exits,» to his upcoming big - budget «Winnie the Pooh» adaptation for Disney.

The music and art style complement each other well while the player has to make use of shifting gravity in a 3D combat focused environment.

Another attempt to answer the question involves shifting the ground slightly and asserting, as some contemporary feminists do, that there is a different kind of «greatness» for women's art than for men's, thereby postulating the existence of a distinctive and recognizable feminine style, different both in its formal and its expressive qualities and based on the special character of women's situation and experience.

Untitled III carries over the shift in texture from opaque to virtually transparent tonality in the greys and blues in particular, as if the artist had absorbed the style of Sumi - e brush painting, as for example in the lithograph owned by the Museum of Modern Art, Wah Kee Spare Ribs, 1970, a medium with which de Kooning was preoccupied in the early years of the decade.

Las Vegas Weekly, The Barrick's «Plural» Teams Local and International Artists for an Engaging Show, April 26, 2018 East Hampton Star, 23 Successes in «A Radical Voice», Jennifer Landes, March 20, 2018 Elle Décor, «Hitting Her Groove», Kate Betts, September 2014 Hamptons ArtHub, Best Exhibitions of 2013», December 2013 Hamptons ArtHub, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, September 2013 WhiteHot Magazine, «Almond Zigmund: Interruptions Repeated», Janet Goleas, September 2013 Huffington Post, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, August 2013 Elle Décor, «Arbiter of Style», Cynthia Frank, May 2013 NY H&G, «Mondo Condo» May 2013 Long Island Pulse, «Artist VIP», Nada, August 2011 Southampton Press, «Shifting Perceptions in Parrish Installation», Pat Rogers, November 8, 2007 East Hampton Star, «An Artist «Remembers the Future»», Jennifer Landes, November 1, 2007 East Hampton Star, «Industrial Strength Beauty, Jessica Frost, July 19, 2007 Las Vegas Sun, «Coloring Her World», Kristen Peterson, February 24, 2006 Southampton Press, «Tracing the Genealogy of Ideas», Eric Ernst, December 15, 2005 Columbus Dispatch,» Texture Enlivens Minimalist Exhibit», Kaizaad Kotwal Sunday, July 17, 2005 Southampton Press,» Avram Gallery Offers Quiet Space for Show», Eric Ernst, Nov. 25, 2004 Los Angeles Times, «Sweet Nostalgia Projected Onto Metal», Holly Meyers, Feb 1, 2002 Flash Art, «Aperto», David Pagel, March - April 2002 Art in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratArt, «Aperto», David Pagel, March - April 2002 Art in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratArt in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratArt Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratart», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratArt BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustratArt Report, Jan / Feb 2000, p. 52, illustration

The works in this exhibition span a wide range of techniques, styles, and intentions, involving a self - analysis that requires a balance between the rational and the intuited, connecting the artists in this frequently shifting art domain.

The exhibition includes well - known works created in New York in the 1960s and 1970s as Krushenick rose to prominence, as well as works created in Baltimore during the 1980s and 1990s, when art market tastes shifted away from Krushenick's unclassifiable style.

The departure from being a merely functional pursuit (made possible by developments in technology and, accordingly, changes in technique, style and purpose) shifted people's perspective on quilting to be recognized as a complex and expressive art form.

This is common in the arts now; when styles are studied around the globe and people, artists and art communities are as interconnected as they are, there is, at least in an academic sense, a shift from regional to national to international.

Atypical of publications that have dealt with the 13 - year period in question, Inventing Downtown shifts the discussion away from a progression of styles — Abstract Expressionism, figuration, Pop, and Minimalism — to a reexamination of the New York art scene from cultural, social, and economic viewpoints.

A vast variety of new movements and styles came to dominate the art world that, in the aggregate, can now be seen to mark the beginnings of artistic postmodernism and the post-midcentury shift from modern to contemporary art.

... — nothing fussy, nothing wasted — was the prevailing style for many of the most exciting gallery shows, whether Maggie Lee and her charming childhood - channeling dioramas in fish tanks at Real Fine Arts, or Theodore Sefcik and his bewitching animations in the basement of 247365, which combine the aesthetics of early computer games and early color video art, or Annie Pearlman and her sui generis paintings at White Columns, which feature shifting planes of flat color and vaguely nightmarish cityscapes — really odd, really wonderful.

Patrick Heron's seminal review of the first showing of the Abstract Expressionists in London in 1956 at the Tate Gallery singles out Rothko for especial praise, while raising doubts about the others, and there is no doubt, despite his protestations to the contrary, that this show marked a decisive shift in his art towards abstraction, and Rothko in particular, though he rapidly turned the influence in the direction of a more European sensibility, less nuanced, a more immediate and direct attack, and an asymmetric compositional style more akin to the early Multiforms, which Heron insists he had not seen.

Born in 1922, Fangor studied and taught art during the early years of his career, producing paintings inspired by various styles of the European avant garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field paintiart during the early years of his career, producing paintings inspired by various styles of the European avant garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field paintiArt and Color Field painting.

Modern art paintings, in particular, shifted from traditional subjects and styles like portraiture, still lifes, and realism toward an existence as art for art's sake, without necessarily referring to objects in the real world.

We will study the shift from Paris to New York as the center of the art world after 1945, and critically view works from the following styles that were created and / or exhibited in NYC: abstract expressionism, color field, conceptual art, site - specific, installation and minimalism.

In an Art in America interview with Yasha Wallin, Bradley talked about the shifting styleIn an Art in America interview with Yasha Wallin, Bradley talked about the shifting stylein America interview with Yasha Wallin, Bradley talked about the shifting styles.