Sentences with phrase «within graffiti»

Also beginning in the late eighties on the West Coast of the US, the Wildstyle - reductionist Joker was one of the first graffiti artists to paint purely geometric abstractions and pushed for its acceptance within the graffiti community by founding the Transcend Collective in 1991 with She1, who was an abstract writer in the UK.

Despite the loss of separation and individuality of the two different subcultures during the machinations of the commodification of Culture, this particular Graffuturist group exhibition, as well as the previous two, are significant steps in acknowledging the sub-subculture of Progressive Graffiti, and then defining and maintaining an understanding of it within Graffiti culture and mass Culture.

At this juncture in the three - year history of the website, as well as in the thirty - year history of this over-looked aesthetic trajectory within the Graffiti movement, Graffuturism.com has become a hub and Poesia the dedicated and consistent chronicler and theoretician.

With a Large Installation planned by Poesia and Intense color paintings made by Geso both seem poised to further their reach within the Graffiti / Urban art genre.

By the mid-1990s, he began to span two worlds, as a key figure to his peers within the graffiti scene and as a talented newcomer to the realm of contemporary art.

Not exact matches

Riding all night, the bus half empty, toward the interior, among refineries, trellised and turreted illusory cities, the crass, the indispensable wastefulness of oil rigs offshore, of homunculi swigging at the gut of a continent: the trailers, the semis, the vans, the bumper stickers, slogans in day - glo invoking the name of Jesus, who knows what it means: the air waves, the brand name, the backyard Barbie - doll barbecue, graffiti in video, the burblings, the dirges: heart like a rock, I said Kathy I'm lost, the scheme is a mess, we've left Oklahoma, its cattle, sere groves of pecan trees interspersing the horizonless belch and glare, the alluvium of the auto junkyards, we're in Kansas now, we've turned off the freeway, we're meandering, as again night falls, among farmsteads, the little towns with the name of a girl on the watertower, the bandstand in the park at the center, the churches alight from within, perpendicular...

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

Sadly though not too much of the environment is destructible but there are some areas where you can take down set objects and yes, once again Sly Cooper gets a few, maybe too many, nods within the game as neon signs and graffiti will usually show something from those games, nothing specific just random fun for those who take the time out to spot stuff like that within the environment.

Within the twelve small paintings there is a range of approaches and manipulations; some feel like graffiti or found objects, some feature built - structures — solid or tentative — while others illuminate invented places — poetic, curious and remote.

Opening at secession, Vienna, Alex Da Corte's Slow Graffiti features immersive installations that submerge the audience within vivid constructions.

Through research and spontaneous discovery, she seeks out images with a «subliminal cultural power» within an extensive range — comics, nature photographs, 3D computer graphic, graffiti, and Eastern symbols have made their way into her complex, dense works.

Stimulated by aspects of popular culture, Nielsen assimilates graffiti, music, videos and performance within his practice as a glass artist creating a form of kitsch that is continuously experimental.

Framed within an immersive picture field, his loose and traversing brushwork echoes techniques found in graffiti art and street tagging.

Their collective approach to art - making is steeped in academic discourse, and whilst retaining the vibrancy of their graffiti backgrounds, traditional art movements such as Futurism, Abstract Expressionism and Precisionism are also embraced by the visual vocabulary imbued within their work.

886 Geary Opened their latest Group exhibition «Analog y» featuring familiar names within the genre of graffiti / urban art.

Climbing within and upon them like a pint - sized hiker, Sasamoto casually chats about dirt, stains, and our futile attempts to clean it all, digressing into personal anecdotes about trying to remove graffiti with toothpaste, or of an old man so chatty he never noticed a bird just shat on his forehead.

This diverse exhibition includes many subgenres within New Contemporary art including Street Art, Pop Surrealism, Conceptual, Abstract, Sociopolitical and Graffiti.

Within his work he embraced the complexity and hybrid nature of urban culture — mixing everything from graffiti and Chinese calligraphy, to West Coast and East... Read More

The court also concluded that, although the graffiti at 5 Pointz was visual art, it was not a «work of visual art» within the meaning of VARA and thus was ineligible for protection.

Known by the tag name «Twist» for his graffiti and street art, McGee has also developed a career within museums and galleries, exhibiting drawings, paintings, prints, and large - scale, mixed - media installations that take inspiration from urban culture, incorporating elements such as empty liquor bottles, cans of spray paint, signs, scrap wood or metal, surfboards, and other found materials.

Jared Aufrichtig (artist, curator and author of Expressions book) brings you «Modern Masters», a group exhibition featuring 12 contemporary art masters within the realms of graffiti, urban art, painting, illustration, design and photography.

For example, the vivid crimson hues within the large - scale work «Velocity,» the exhibition's namesake, perhaps bring to mind the glossy automobiles and vintage style of the film «American Graffiti.»

His work uses a variety of media including painting, drawing, photography, installation, video and graffiti all within a conceptual frame that utilizes the Universal notions of place, human attachment and relationship to one's environment.

A few of the sub genres within the New Contemporary exhibition include Street Art, Pop Surrealism, Conceptual, Abstract, Sociopolitical, and Graffiti.

Splashes of ink, dribbles and spattering of watercolour both obscure and are incorporated within the making of the image, whereas hand - written fragments of text — with political undertones — and scribbles of ball - point pen generate an urban, graffiti style aesthetic which reminds one of artists like Basquiat but has a distinct and unique personality.

While there is a complicated, yet fascinating line between graffiti and fine art, the collective has made a seamless transition into the art world in a tasteful way that does not categorize the work as simply «graffiti,» yet sustains the collective's distinct styles and energy within a gallery setting.

The transformation from the field of graffiti art to the wooden sculpture, within the artwork of Steph.Cop is truly amazing, since the shift from the city streets to various natural environment is conducted smooth and logically.

Whilst all of the participating artists initially arose within the street art or graffiti scene, Mills points out that they now considered some of the foremost, respected visual artists of their generation, and goes on to state, «Being able to bring such amazing talent to Perth is a long held dream of mine, and I am so very proud that my friends, heroes and contemporaries have agreed to join with me to make this happen.»

In all of his work, Lamarche engages a general familiarity with commercial typography and design as well as elements of graffiti, which by now are ubiquitous within the social and built landscapes of most cities.

Therefore this group show, like the website itself, has developed into a «survey» that historicizes and canonizes each artist within the Progressive Graffiti thread, as well as within the larger Graffiti movement.

Due to the esoteric nature and hybrid aesthetics of their graffiti - based paintings, and limited by their disparate locations around the globe, they had no way to band together and find an audience to support them because of the lack of enough interest within local communities.

Lasker is an American abstract painter best known for his works incorporating biomorphic shapes, geometric patterns, and gestural graffiti marks within a shared pictorial space.

Inspired by the graffiti culture surrounding his LA studio, the abstract paintings are situated within a diverse practice that spans installation, collage, video and sculpture.

Lin's dense patterns — a kind of graffiti of the imagination where form trumps identifiable lettering — spring like benevolent viruses or kudzu vines covering anything within reach.

This exhibit was particular significant because it canonized these three graffiti artists within the fine art pantheon by successfully illustrating their undeniable aesthetic accomplishments in relation to Matta's masterworks.

The art they produce is derived from a dialogue that ricochets around within a pin - ball matrix constructed of coordinates lying between the historical and the contemporary, including high and low influences, fine art and graffiti studies, scholarly and street pursuits, intellectual and visceral marks.

Now, as this historical thread comes of age and recognizes itself in the mirror of history and on the faces of its youth, as the pioneers of the culture are canonized and the younger artists are united, there are many more opportunities afforded them within the design market, auction houses and fine art world, as these communities continue grow in their recognition of the cultural value and influence of Graffiti and Street Art, as the most prevalent styles and art movements in the late twentieth and early twenty - first centuries.

Therefore this group show has developed into a «survey» that historicizes and canonizes each artist within the Progressive Graffiti thread, as well as within the larger Graffiti movement.

His work often uses the street as his canvas or his backdrop, alluding to hip - hop and the role of graffiti artists, and he often operates within the gritty aesthetic associated with that culture.

[14] In 1979, he opened his first New York gallery, and within a few years he had made his reputation handling talents like Donald Baechler and then - hot graffiti artists like Jean - Michel Basquiat, Keith Haring, and Kenny Scharf and also European artists like Brian Clarke, Enzo Cucchi, Hervé Di Rosa and Jean - Charles Blais.

«If graffiti is removed within 24 hours, there's a 10 per cent chance of being retagged.