Sentences with phrase «while traditional artists»

As we've seen, graphic designers gain inspiration from the world of fine art, while traditional artists simultaneously benefit from the modern design realm.

Not exact matches

The thrust of this film, though, is not the traditional circus circuit but rather the Oddities, characters on the outskirts who show their humanity: the Bearded Lady (Keala Settle) and Tom Thumb (Sam Humphrey) in addition to the likes of the Strong Man, Dog Boy and a glorious trapeze artist named Anne Wheeler (Zendaya), who is a love interest for Barnum's partner Phillip, played nicely by Zac Efron in his best screen outing in a long while.

There are many stories I've heard of authors doing well self - publishing (sometimes while also writing for traditional publishing houses) and many cover artists charge reasonable prices, so this is a definite consideration.

Watch local artists perform traditional dances and music, while visitors can sample local delicacies and mingle with the friendly locals.

Mitsuda has supervised these artists and others on the traditional RPG scores for the Luminous Arc trilogy, while also serving as a sound producer for diverse projects such as Infinite Loop, Magnetica Twist, Tokyo Yamamoto Boys, and Treasure Report.

While most traditional artists use the tried and true mediums of acrylic or oil paint, Lauterbach's paint is fabric and her brush is thread.

Sargent's Daughters, which opened in November 2013, has an interest in artists who work in a traditional medium while challenging contemporary artistic practice.

The artist's early training as a sculptor, before he made the switch to painting, has clearly influenced his thinking around the space that painting can inhabit and, while these are not landscape paintings in the traditional sense, they nevertheless reference landscape and place.

While Borremans's technical command of his medium recalls classical painting — the rich tactility and special glow of his painted surfaces evoke the Old Master tradition and artists such as Francisco Goya — his compositions elude traditional interpretative strategies.

The artists work in a variety of unique and innovative ways; some incorporating a more traditional figurative approach, while others are combining metalpoint with other media to produce striking and unexpected results.

Created three years later, A Pot of Boiling Water (1995) also records an equally fruitless process in a series of twelve black - and - white photographs: the artist carries a pot of boiling water as he walks through the traditional hutongs of Beijing while pouring hot water onto the ground, drawing a wet line that vanishes almost immediately.

Among the hundreds of artists I consider each year while publishing New American Paintings, I have noticed a considerable uptick in the number of young painters working with recognizable imagery, some in, dare I say it, almost traditional modes.

While portraiture is a traditional, time - honoured genre, this exhibition offers a new perspective by bringing together iconic portrait paintings by artists such as Max Beckmann, Lucian Freud and Frank Auerbach with more unconventional works by artists such as Lara Favaretto and John Bock.

Advertising and television quickly emerged as rich new mediums for expression and artworks themselves were transformed into branded products while the artists standing behind them were viewed as celebrities much more alike today's famous personas than what traditional artists were viewed throughout history.

At IPCNY their prints confirm that while such American artists were adventurous and curious, they remained far more attached to traditional representation than their European peers.

While Sendor has an educated consciousness of the history of painting, particularly studying artists such as Caravaggio, Vermeer and Goya, he strategically employs pictorial devices influenced by the circumstances of image consumption of today, deviating from traditional painting vernacular.

Curatorial Hub offers a clean and simple way to get works out into the world while giving artists an opportunity outside of the traditional gallery setting to create supplemental income between exhibitions and projects.»

While the prize has always done away with traditional rules of engagement, encouraging artists working in any medium, of any age and career trajectory to apply, this year, in collaboration with curator Pablo León de la Barra, Hiorns has pushed beyond the only remaining definitions and limitations of the prize — its site - specificity to the Sala Molinos.

Bypassing a traditional Art Fair structure with gallery booths that showcase represented artists, Jogja exhibits the work of artists directly in a well - curated show that continues for a good summer - while — from June 7 - 22, 2014.

Traditional calligraphy and symbols infuse the work of Qatari artist Yousef Ahmad, who distills Arabic letters into abstract shapes, while Syrian artist Khaled Al - Saa «i draws on Sufi philosophy, painting words into spacious landscapes.»

While referencing artists such as Vincent Van Gogh and Marina Abramović, Peili re-introduces the traditional into her practice, which can be seen through her use of Chinese ink and ancient poetries in some of her new media works.

While the medium of photography has shifted with the advent of new technologies, these artists use the traditional methods as a starting point.

While the field of social practice has had an increasingly high profile within contemporary art discourse, this book documents artists who have been under - recognized because they do not show in traditional gallery or museum contexts and are often studied by specialists in other disciplines, particularly within the Latin American context.

Younger artists are adopting traditional practices, while the movement's godmothers (the majority of fiber artists are female) are barreling ahead with new materials, ideas, and techniques.

To some, originality in this traditional medium was no longer possible and, while the new breed of conceptual art had the ability to shock and beguile, the work of those artists who favoured the paintbrush had seemingly lost its edge.

Paul was not the only Nash to be an official war artist; his younger brother John was also a poetic landscape painter, although he trod a more traditional path while his sibling experimented with avant - garde styles such as Surrealism.

In the 1960s, while studying at Turin's Accademia Albertina di Belle Arti, he fell under the influence of older contemporaries, including Michelangelo Pistoletto and Giovanni Anselmo — artists who used unconventional materials and forms to create works that replaced the artifice of academic art with simplicity, criticism of traditional social values and an interest in the potential of the everyday.

As a contemporary artist who deliberately chooses to work within the parameters of a traditional genre and to employ a traditional mode of representation, my challenge is to create work that embraces tradition (which I'm convinced remains vital and relevant for our time) while simultaneously transcending the sense of nostalgia often attributed to it.

It's hard to characterize the art produced in Bushwick: there are endless studios of artists producing forms of traditional figurative painting while countless others are experimenting with digital images — some older talents but mostly younger ones.

The contemporary art prize is named after Turner because while today he may be considered one of Britain's greatest traditional artists, in his time his approach to landscape painting was controversial, and often reviled, yet had a lasting impact on art.

Artists in the exhibition work variously in illustrational, folkloric and narrative styles, while some reinvent traditional craft media, work in abstraction, or employ photography and video.

While many artists in the United States were exposing the workings of the gallery and institution, and challenging the traditional status of artistic persona, in Europe, attention turned to the matrix of cultural production within the context of fading public funding and a new freedom to travel following the fall of the Berlin Wall.

While the artists might be seen to be interested in dreamy or fantastical landscapes, their work also suggests that for them, traditional ways of depicting landscapes have become impossible.

Continuing the tradition of the previous exhibits (Roux at the Houston Museum of African American Culture, Stir at Gallery M Squared, Mojo at Prairie View A&M University, and bās at Art League Houston), each artist used the word «sugar» to explore its historical, cultural and personal connotations while confronting the boundaries of experimental and traditional printmaking techniques.

While both artists received academic training during the 1920s, William H. Johnson at the National Academy of Design and Beauford Delaney at the Boston Normal School, the mature work of both artists is not traditional; rather, they may be described as «expressionist» or «primitive».

Curated by Terresa Liu Snyder and Elga Wimmer, The Harvest of Spring Blossoms introduces Chinese artists anchored in traditional painting while reinterpreting them in a contemporary fashion.

Another example is London - based artist Taslim Martin's metal stool, modeled on a traditional African headrest used to preserve elaborate hairstyles while sleeping.

While realism was largely abandoned in the West in the 20th century, the Soviet state was devoting vast resources to supporting traditional landscape and portrait artists.

While they wait for such practices to become more widely accepted, some artists have been trying to marry their work to more - traditional materials.

And yet, the show is often flat - footed and traditional in the worst way — with overly literal duds, such as (in the Fridericianum) a giant camouflaged tank that Greek artist Andreas Angelidakis assembled from seat cushions, a marble refugee tent by the Anishinaabe - Canadian artist Rebecca Belmore sitting atop the Hill of Muses overlooking the Acropolis, a gobsmackingly trivial installation at the Stadtmuseum Kassel by the Guatemalan Regina José Galindo that lets viewers point an unloaded assault rifle at the artist and decide whether to pull the trigger (being aware of Brandon Lee's death while filming The Crow, I declined), and in Karlsraue Park, Mexican artist Antonio Vega Macotela's replica of a machine once used by slaves in Bolivia to print coins — viewers are invited to use it.

In many cases, the works reflect idiosyncratic and unexpected viewpoints, while in others the artists make reference to organized religious doctrine and traditional iconography.

My Rock Stars: Volume 1, new body of work by photographer Hassan Hajjaj that pays homage to traditional African portraiture, while celebrating present - day pop stars, unsung artists and personal inspirations in Hajjaj's life.

The artist calls into question traditional narratives of danger and the inevitability of death while he simultaneously hijacks the gallery by excluding art objects and audience.

While some of the works are traditional self - portraits, many of the artists focus on the body or physical presence instead of the face and external likeness.

While he's best known for his large - scale sculptures employing traditional craft techniques coupled with a certain Minimalist smoothness, the American artist Martin Puryear has also produced a large body of drawings over the course of his decorated career.

By the early and mid-20th century, artists such as Marin and Porter focused on the expressive power of the sea, while contemporary artists such as Celmins, Davis, Lago, Lenaghan, Straus, and Sugimoto reference their 19th Century predecessors by exploring the effect of photography on contemporary realism — and traditional realism on contemporary photography.

While the abstractness of Abstract Expressionist art made it hard to illustrate sacred subjects, some of these artists associated their paintings with traditional sacred ways of thinking.

As a conceptual artist, Buren was regarded as visually and spatially audacious, objecting to traditional ways of presenting art through the museum - gallery system while at the same time growing in hot demand to show via the same system.

While Dutch street and gallery artist Super A blends urban methods, graphic design and traditional painting techniques to give life to work that evolves out of his personal experiences and thoughts, the Dutch artist and illustrator Collin van der Sluijs translates personal pleasures and struggles in daily life into his own visual language.

A collection of handkerchiefs embroidered with examples of the artist's mother's questionable wisdom («If you inhale the scent of lilies while you sleep, you can die») is the best example in the show of how Deszö subverts ideals of traditional feminine handicrafts.