Sentences with phrase «time effects artist»

Not exact matches

The cinematography here is spectacular largely because Waititi has taken the time to allow his nations of visual artists to give their CGI and practical effects the same kind of weight and substance.

«Matilda's Movie Magic» (16:14) allows DeVito and others (including Davidtz, Perlman, a make - up effects artist and a visual effects supervisor) to break down the film's illusions one at a time, with help from behind - the - scenes footage and some graphic illustrations.

These young adult movies have seen some impressive names step behind the director chair but Maze Runner finds itself as the feature debut of visual effects artist Wes Ball and there's no doubting the fact that this feels like a first - time effort of someone who can't bring the energy required to keep a film's pulse moving.

Raimi has assembled his own band of technical wizards and movie magicians on the project, which includes cinematographer Peter Deming («Mulholland Dr.,» «Drag Me to Hell»), two - time Academy Award ® — winning production designer Robert Stromberg («Alice in Wonderland,» «Avatar»), Oscar ® - winning film editor Bob Murawski («The Hurt Locker,» the «Spider - Man» trilogy), veteran Oscar ® - nominated costume designer Gary Jones («Spider - Man 2,» «The Talented Mr. Ripley»), visual effects Oscar ® winner Scott Stokdyk («Spider - Man 2,» «Spider - Man») and Academy Award ® — winning special makeup artist Howard Berger («The Chronicles of Narnia» series), who will create the looks of several of the unique denizens of Oz, including creatures such as the Whimsies, the Tinkers and the Winkies, as well as the ghastly look of the Wicked Witch of the West.

Available for the first time on Blu - ray, this definitive collector's edition release is packed with over 5 hours of extras, including all - new interviews with Don Coscarelli, Bruce Campbell, and special effects artist Robert Kurtzman; new audio commentary with Joe R. Landsdale; and more!

It is a micro-budgeted film from first time director and visual effects artist Gareth Edwards... and it kicks ass!

Pollak, Nerdist podcast co-host Matt Mira, history professor John Putman, actress Jeri Ryan, NASA engineer Bobak Ferdowsi, and make - up effects artist Doug Drexler sat down at the Leonard Nimoy Event Horizon Theater at the Griffith Observatory in Los Angeles to talk about Trek — the documentary returns to them many times as it moves from the franchise's beginning through the last movie of the original run.

Now it's time to post about the (often) unsung artists and craftspeople who are essential to the filmmaking process: the writers, cinematographers, editors, production designers, visual - effects artists, and music composers.

- 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

The artist explores the residual effects of natural phenomena and human intervention on the landscape over time and how these forces shape cultures and identities.

-- NYTimes The Larry Gagosian Effect — Wall Street Journal World's Biggest Museum Opens in China — Studio 360 Top Exhibitions of 2010 — The Art Newspaper Recent Art News - Texas Week of 03/27/11 Ed Ruscha at the Modern Museum of Fort Worth — CBS New: Sunday Morning (Video) Simpsons Takes Shots at Dallas Football, Arts District — FrontRow A work in progress: The Dallas Arts District gathers trophy buildings, but still searches for urban vitality — Chicago Tribune James Turrell mound at Rice University - Glasstire Richard Serra, Pushing the Boundaries of Drawing — ARTnews Recent Art News - National - International Week of 03/27/11 Ed Ruscha Street Photography — LATimes Stephen Colbert Exposes Himself to Art (the Appropriate Way)-- NYTimes (Video) Jerry Saltz on Andy Warhol's Portraits of Liz Taylor — NYMag Eduardo Souto de Moura, Architect from Portugal, Wins Pritzker — NYTimes Recent Art News - Texas Week of 03/20/11 Neiman Marcus to feature artwork in Windows — FrontRow MAC director resigns — Glasstire Recent Art News - National - International Week of 03/20/11 Jerry Saltz: How a Joyride in Gavin Brown's Volvo Became Art — NYMag Walker Art Center to Acquire Merce Cunningham's collection — Art in America Cultural Complex in Santiago di Campostela is expensive mistake - The Art Newspaper Toshiko Takaezu, Ceramic Artist, Dies at 88 — NYTimes Recent Art News - Texas Week of 03/13/11 Artpace San Antonio — YouTube Crow Collection To Expand, Add Asian Sculpture Garden — FrontRow Donor's Son Sues Dallas Museum Over Art Collection, 25 Years Later — NYTimes Recent Art News - National - International Week of 03/13/11 Abramovic wins two - year copyright battle — The Art Newspaper Scents and Sensibility, Artists use scent to create new experience in museums — ARTnews Spark: How Creativity Works, by Julie Burstein, Kurt Andersen — Amazon.com (Book) Michelangelo's David «could collapse due to high - speed train building» — Telegraph Recent Art News - National - International Week of 03/06/11 Norman Foster to Design Huge Hong Kong Cultural District — NYTimes Recent Art News - Texas Week of 02/27/11 AMOA leaving downtown, focusing on Laguna Gloria — Austin 360 Recent Art News - Texas Week of 02/13/11 Amon Carter's Director of Education Named National Educator of the Year — Amon Carter Museum Blanton curator heads to National Gallery of Art — Austin 360 Director Dana Friis - Hansen departs from the Austin Museum of Art — The Austin Chronicle Dallas Architecture Forum wins AIA National Collaborative Achievment Award — Dallas Archicture Forum Recent Art News - National - International Week of 02/13/11 Egyptian Archeological Sites Were Looted, Says Antiquities Minister — NYTimes Tracey Emin, the visionary, emerges as Margate's answer to William Blake — Guardian What's The Matter With Kansas... This Time?

What do you hope will be the effect of this timing and this choice of artists?

There he was introduced to the work of Mark Gertler, Henry Moore, Augustus John and other prominent English artists of the time whose emphasis on visual acuity and technical skill would have a major effect on Mead and accounted for the restraint of his early paintings.

«Part earthworks, part movie set, part traveling circus, the final «product» is always just slightly out of reach, since the artist is not interested in permanence, but rather decay, entropy and the ravaging, inevitable effects of time.»

The gradual transformation and disappearance of the artist's marking echoes the themes evident in the clay work — the natural effects of time on matter, and the beauty in loss and renewal of all forms.

The artist spent time studying film - industry special effects techniques to prepare this project, which includes an architectural installation of petrified wood from Turin, columns from Sharjah, and silicone molds from Istanbul.

The passage of time and the effects of natural and artificial light are ideas and motifs that recur in Shirreff's work, and are forces intrinsic to the process of making cyanotype photographs, a practice that the artist continues to explore.

He had begun going to the Whitechapel at the age of 18 in 1964, and still remembers the galvanising effect on him of Robertson's exhibitions of Robert Rauschenberg and, the following year, of Franz Kline, both deeply influential American artists of the time, whose reputations outlived their century.

Kristin Lucas is a multidisciplinary artist whose work investigates uncanny overlaps of virtual and lived realities, and the physical and psychological effects of technologies on perception of time and space, behavior, and identity.

Kessler's work since the»80s has been aligned with the tradition of kinetic sculpture and assemblage that emerged in the early twentieth century — such works as Marcel Duchamp's Rotoreliefs, Moholy Nagy's time / space modulators and Yves Tinguely's self - destructive machines are obvious sources — but filtered through the erratic, jury - rigged aesthetic of artists like Robert Rauschenberg and the improvised, makeshift special effects of B - filmmaker Ed Wood.

The mirror effects of the black and white series Flowers in the mirror and the Moon in the water, the installation 1000 Chinese strangers — which consists of nearly one thousand photo booth portraits of Chinese workers at the time of Mao (1949 - 70)-- and the series of old image montages Where have all the flowers gone testify to the artist's reflections on history and tradition.

Ryan Foerster (Newmarket, Canada, 1983) is a mixed media artist working primarily in photography with an interest in the evolution and decay caused by the effects of time, weather and other organic processes.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

Solomon's LIFE VS TIME includes a selection of the artist's signature wood carvings which explore the effects of ethnicity, religion and class on an individual's life path.

Resembling a sensual, otherworldly flower sprinkling drips of color in the infinite space, the work amalgamates the effects of some major formative experiences in Francis's career: the time the artist spent in Tokyo and his interest in Japanese calligraphy, his fascination with compositions resembling aerial views as a one - time pilot and his studies of botany as a Berkeley student.

The license should stipulate the time period that the license will remain in effect, the date upon which the artist must deliver the artwork, and the manner of delivery.

Earth Work The main theme at Creative Time's Summit last weekend was Place, particularly the idea of artists moving from one to another to work — whether by installing Land Art (which Lucy Lippard likened to a kind of gentifrication) or trying to effect change on the ground.

Through recent installations that include filmed performances, where projections of the «ghosted» human body wash over sculptural elements, the artist attempts to create an alienating / disorienting illusory effect that reflects an increasing loss of the corporeal gesture in the every day, the infinite attempt at calibrating the body to technology, as well as the entrapment of the human psyche within it; manipulating and playing with memory, space and time.

Early in 1940 we managed to find a small house and for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate enough to have constant contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.

Taken together, Ossorio's work produces quite a heady effect, and through this Saturday at Michael Ronsefeld Gallery, one has a chance to see thirty - three of these fertile — and at times febrile — works of this artist who is often overshadowed by his more famous friends but worthy of consideration on his own terms.

The project examines the development of a group of artists considering the often non-linear relationship of cause and effect, and tremors between space and time.

From the graceful silence sought after by the Zero artists to the visual effects attaching by the Kinetic artists, and the innovative techniques of Pino Pinelli and Mimmo Rotella, Rethinking Space unites the various strands of Italian art of the 1950s and 1960s and beyond to provide a complete overview of one of the most fruitful times in twentieth century art history.

In 2017, at a moment when the subject of truth and fake news came to the forefront of national discourse, the artist tweaked one of these adjusted - to - fit works in reaction to today's shifted reality by adding a twisting effect to make Pollyanna (adjusted to fit, distorted for the times).

Both artists have, at times, isolated body parts — hands, heads, arms, mouths — but often to very different effects.

He is not the only contemporary artist to investigate time as a subject — Andy Goldsworthy, Hiroshi Sugimoto, and John Divola come to mind — but his approach addresses the question of what constitutes the present moment and the effects time and its contemplation have upon the individual.

She is a natural fit, joining our program of artists who have worked to rewrite historical inaccuracies, expose the continued effect and violence of colonization, and visualize the bodies of those who have been systematically erased or ignored over the course of time.

The works of the three artists picture a feeling of longing as a place, a three - dimensional image, as plain, surface, material, colour, effect, taste, time, a moment of happiness, but most of all as a projection.

The paintings selected are a portrait not only of a people, but also of a place and time that is continuously fighting the systemic effects of marginalization — much like the artist herself.

Presented in conjunction with the exhibition Strange Currencies, The Galleries at Moore host a conversation between Mexico City - based artist and activist Minerva Cuevas and Creative Time Chief Curator Nato Thompson about the effects of socially engaged art practices.

At a time when mass migration due to the effects of climate change has become a critical concern, artist, and designer Andres L. Hernandez, and artist and dancer Zachary Fabri guide workshop participants through exercises focusing on drawing as an interpretative act of movement.

Each artist worked in isolation and, in effect, worked outside of time.

When I came back to my studio, the effect of spending time sifting through so many other artists» lives, kind of distilled things: what do I really want my paintings to do.

Thirty - year - old British artist Darren Almond recently exhibited several installations and photographic works, illustrating his investigations into time, space, and the body in relation to the effects of machines, transport, and industry.

Over time, the artist abandoned the brush for a palette knife and developed an atmospheric abstract style that incorporated textural effects and abbreviated forms.

From the mid 1960s the artist made the final and full switch from oil paints to acrylic, enjoying the liberating effects of the speedy drying time.

The artist documents these walks and ephemeral interventions in the landscape, which attempt to deny man's dominion over nature — doomed as they are to disappear due to the effects of erosion — in the manner best suited to each idea, with photographs, maps and text works in which the measurements of time and distance and the place names are infused with poetry.

Tate Modern mercifully restrains from introducing Martin's paintings as «products of personal and spiritual struggle» caused by her schizophrenia until Room 5 of its current major retrospective, but nevertheless the exhibition at times develops into a distracting mashup of what we are told of the artist's biography and what we can see for ourselves in her work, providing comfort and explanation in personal anecdote, and portraying Martin's work as a logical story of cause and effect.

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