Sentences with phrase «work in other media such»

According to Miró, they are a farewell to painting, albeit a temporary one, as he wishes to work in other media such as bas relief and sculpture.

Not exact matches

She has written for Lonely Planet and has worked as a freelancer for other media such as Sixth Tone on topics such as tech, property markets and social development in China.

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The work samples should be entirely or mainly your own work and should include one piece of scientific writing (e.g., a journal article or technical report), one additional piece of written work of your choosing, and one piece of work that presents scientific or technical findings in a visual, graphic, or other format or media such as a webpage, video, or interview.

The posting party hereby grants Mass Audubon a perpetual, worldwide, royalty free, irrevocable license to use, reproduce, modify, publish, publicly perform, publicly display, and distribute its posting, any portion of such posting and any derivative works created from such posting, in print, electronic and other media, by any means now known or developed in the future.

By posting Content to the Web Site or by transmitting Content using the Web Site, you (1) represent and warrant to momstown that you have all necessary permission to post or transmit Content; and (2) grant to momstown a worldwide, nonexclusive, perpetual, fully sub-licensable, royalty - free right and license to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform, and display such Content (in whole or part) worldwide and / or to incorporate it in other works in any form, media, or technology now known or later developed.

By submitting content to this Mead Johnson Nutrition website, you automatically grant Mead Johnson Nutrition, or warrant that the owner of such content has expressly granted Mead Johnson Nutrition, the royalty - free, perpetual, irrevocable, non-exclusive right and license to use, reproduce, modify, adapt, publish, translate, and distribute the content (in whole or in part) worldwide and / or to incorporate it into other works in any form, media or technology now known or hereafter developed, for the full term of any copyright that may exist in such content.

You grant to BrooklynPaper.com the royalty - free, irrevocable, perpetual and fully sublicensable license to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform and display such content in whole or in part world - wide and to incorporate it in other works in any form, media or technology now known or later developed.

(b) User Supplied Content: By accessing our forum, bulletin board, chat room, or any other user interactive area of our site, and placing any information in any of those areas, you hereby grant us a perpetual, irrevocable, royalty free license to such materials, including but not limited to the right to post, publish, transmit, distribute, create derivative works based upon, create translations of, modify, amend, enhance, and display such materials in any form or media, whether now known or later discovered.

Her work has received significant media attention, having been covered by outlets such as Morning Edition and Marketplace on National Public Radio and in the New York Times, among others.

By submitting reviews, content, photos, data, names or other materials («Materials»), you hereby grant to Cars.com and its Affiliates (as defined in the Terms of Service) a royalty - free, perpetual, irrevocable, nonexclusive, fully transferable, fully sublicensable right and license to copy, modify, display, distribute, perform, create derivative works from, delete, adapt, publish, translate and otherwise use and exploit all such Materials in any form, media, software or technology of any kind now existing or developed in the future without restriction as to manner, frequency or duration of use and without compensation to you, as well as the right to sublicense those rights to third parties such as our dealer and OEM advertisers.

By posting or uploading any Content on the Website: (i) you understand that if your Work is in aliterary categoryincluded on the Book Country Website, and complies with these General Terms of Use, your Work may be made accessible to users of the Website and members will be able to review, comment on it and rate it; (ii) you represent and warrant that (A) the Content does not contain any libelous matter or matter otherwise contrary to law or violate any rights of privacy or other personal or property right whatsoever and (B) you own or control all rights in your Content, that such Content is original and does not, and will not, infringe the copyright, trademark or any other right of any person or entity, and that any «moral rights» in the Content have been waived; and (iii) you grant to us a non-exclusive, worldwide, royalty - free, irrevocable, perpetual, transferable right and license (A) to display the Content on the Website, and (B) with respect to Content other than your Work, to use, display, reproduce, distribute, modify, adapt, publish, translate, create derivative works from, perform, make, sell and export such Content, in whole and in part, on the Website or in any formats and through any media, as we see fit, and you shall have no claims against Book Country for such use or non-use.

In general however, paid and free book advertising works best when it's combined with other marketing, such as blogging and social media, for example.

Through his consultancy, Porter Anderson Media, Porter covers, programs, and speaks at publishing conferences and other events in Europe and the US, and works with various players in publishing, such as Library Journal's SELF - e, Frankfurt Book Fair's Business Club, and authors.

Having these more delicate effects replaced with large English equivalents wouldn't have worked nearly as well as it does in other books, such as how Viz Media handles their shonen series.

Such statements reflect the current views of Barnes & Noble with respect to future events, the outcome of which is subject to certain risks, including, among others, the general economic environment and consumer spending patterns, decreased consumer demand for Barnes & Noble's products, low growth or declining sales and net income due to various factors, possible disruptions in Barnes & Noble's computer systems, telephone systems or supply chain, possible risks associated with data privacy, information security and intellectual property, possible work stoppages or increases in labor costs, possible increases in shipping rates or interruptions in shipping service, effects of competition, possible risks that inventory in channels of distribution may be larger than able to be sold, possible risks associated with changes in the strategic direction of the device business, including possible reduction in sales of content, accessories and other merchandise and other adverse financial impacts, possible risk that component parts will be rendered obsolete or otherwise not be able to be effectively utilized in devices to be sold, possible risk that financial and operational forecasts and projections are not achieved, possible risk that returns from consumers or channels of distribution may be greater than estimated, the risk that digital sales growth is less than expectations and the risk that it does not exceed the rate of investment spend, higher - than - anticipated store closing or relocation costs, higher interest rates, the performance of Barnes & Noble's online, digital and other initiatives, the success of Barnes & Noble's strategic investments, unanticipated increases in merchandise, component or occupancy costs, unanticipated adverse litigation results or effects, product and component shortages, the potential adverse impact on the Company's businesses resulting from the Company's prior reviews of strategic alternatives and the potential separation of the Company's businesses, the risk that the transactions with Microsoft and Pearson do not achieve the expected benefits for the parties or impose costs on the Company in excess of what the Company anticipates, including the risk that NOOK Media's applications are not commercially successful or that the expected distribution of those applications is not achieved, risks associated with the international expansion contemplated by the relationship with Microsoft, including that it is not successful or is delayed, the risk that NOOK Media is not able to perform its obligations under the Microsoft and Pearson commercial agreements and the consequences thereof, risks associated with the restatement contained in, the delayed filing of, and the material weakness in internal controls described in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, risks associated with the SEC investigation disclosed in the quarterly report on Form 10 - Q for the fiscal quarter ended October 26, 2013, risks associated with the ongoing efforts to rationalize the NOOK business and the expected costs and benefits of such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, and in Barnes & Noble's other filings made hereafter from time to time with the Such statements reflect the current views of Barnes & Noble with respect to future events, the outcome of which is subject to certain risks, including, among others, the general economic environment and consumer spending patterns, decreased consumer demand for Barnes & Noble's products, low growth or declining sales and net income due to various factors, possible disruptions in Barnes & Noble's computer systems, telephone systems or supply chain, possible risks associated with data privacy, information security and intellectual property, possible work stoppages or increases in labor costs, possible increases in shipping rates or interruptions in shipping service, effects of competition, possible risks that inventory in channels of distribution may be larger than able to be sold, possible risks associated with changes in the strategic direction of the device business, including possible reduction in sales of content, accessories and other merchandise and other adverse financial impacts, possible risk that component parts will be rendered obsolete or otherwise not be able to be effectively utilized in devices to be sold, possible risk that financial and operational forecasts and projections are not achieved, possible risk that returns from consumers or channels of distribution may be greater than estimated, the risk that digital sales growth is less than expectations and the risk that it does not exceed the rate of investment spend, higher - than - anticipated store closing or relocation costs, higher interest rates, the performance of Barnes & Noble's online, digital and other initiatives, the success of Barnes & Noble's strategic investments, unanticipated increases in merchandise, component or occupancy costs, unanticipated adverse litigation results or effects, product and component shortages, the potential adverse impact on the Company's businesses resulting from the Company's prior reviews of strategic alternatives and the potential separation of the Company's businesses, the risk that the transactions with Microsoft and Pearson do not achieve the expected benefits for the parties or impose costs on the Company in excess of what the Company anticipates, including the risk that NOOK Media's applications are not commercially successful or that the expected distribution of those applications is not achieved, risks associated with the international expansion contemplated by the relationship with Microsoft, including that it is not successful or is delayed, the risk that NOOK Media is not able to perform its obligations under the Microsoft and Pearson commercial agreements and the consequences thereof, risks associated with the restatement contained in, the delayed filing of, and the material weakness in internal controls described in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, risks associated with the SEC investigation disclosed in the quarterly report on Form 10 - Q for the fiscal quarter ended October 26, 2013, risks associated with the ongoing efforts to rationalize the NOOK business and the expected costs and benefits of such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, and in Barnes & Noble's other filings made hereafter from time to time with the such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, and in Barnes & Noble's other filings made hereafter from time to time with the SEC.

Through his consultancy, Porter Anderson Media, Porter covers, programs, and speaks at publishing conferences and other events in Europe and the US, and works with various companies and players in publishing, such as Library SELF - e, Frankfurt Book Fair's Business Club, and authors.

Such statements reflect the current views of Barnes & Noble with respect to future events, the outcome of which is subject to certain risks, including, among others, the effect of the proposed separation of NOOK Media, the general economic environment and consumer spending patterns, decreased consumer demand for Barnes & Noble's products, low growth or declining sales and net income due to various factors, possible disruptions in Barnes & Noble's computer systems, telephone systems or supply chain, possible risks associated with data privacy, information security and intellectual property, possible work stoppages or increases in labor costs, possible increases in shipping rates or interruptions in shipping service, effects of competition, possible risks that inventory in channels of distribution may be larger than able to be sold, possible risks associated with changes in the strategic direction of the device business, including possible reduction in sales of content, accessories and other merchandise and other adverse financial impacts, possible risk that component parts will be rendered obsolete or otherwise not be able to be effectively utilized in devices to be sold, possible risk that financial and operational forecasts and projections are not achieved, possible risk that returns from consumers or channels of distribution may be greater than estimated, the risk that digital sales growth is less than expectations and the risk that it does not exceed the rate of investment spend, higher - than - anticipated store closing or relocation costs, higher interest rates, the performance of Barnes & Noble's online, digital and other initiatives, the success of Barnes & Noble's strategic investments, unanticipated increases in merchandise, component or occupancy costs, unanticipated adverse litigation results or effects, product and component shortages, risks associated with the commercial agreement with Samsung, the potential adverse impact on the Company's businesses resulting from the Company's prior reviews of strategic alternatives and the potential separation of the Company's businesses (including with respect to the timing of the completion thereof), the risk that the transactions with Pearson and Samsung do not achieve the expected benefits for the parties or impose costs on the Company in excess of what the Company anticipates, including the risk that NOOK Media's applications are not commercially successful or that the expected distribution of those applications is not achieved, risks associated with the international expansion previously undertaken, including any risks associated with a reduction of international operations following termination of the Microsoft commercial agreement, the risk that NOOK Media is not able to perform its obligations under the Pearson and Samsung commercial agreements and the consequences thereof, the risks associated with the termination of Microsoft commercial agreement, including potential customer losses, risks associated with the restatement contained in, the delayed filing of, and the material weakness in internal controls described in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, risks associated with the SEC investigation disclosed in the quarterly report on Form 10 - Q for the fiscal quarter ended October 26, 2013, risks associated with the ongoing efforts to rationalize the NOOK business and the expected costs and benefits of such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended May 3, 2014, and in Barnes & Noble's other filings made hereafter from time to time with the Such statements reflect the current views of Barnes & Noble with respect to future events, the outcome of which is subject to certain risks, including, among others, the effect of the proposed separation of NOOK Media, the general economic environment and consumer spending patterns, decreased consumer demand for Barnes & Noble's products, low growth or declining sales and net income due to various factors, possible disruptions in Barnes & Noble's computer systems, telephone systems or supply chain, possible risks associated with data privacy, information security and intellectual property, possible work stoppages or increases in labor costs, possible increases in shipping rates or interruptions in shipping service, effects of competition, possible risks that inventory in channels of distribution may be larger than able to be sold, possible risks associated with changes in the strategic direction of the device business, including possible reduction in sales of content, accessories and other merchandise and other adverse financial impacts, possible risk that component parts will be rendered obsolete or otherwise not be able to be effectively utilized in devices to be sold, possible risk that financial and operational forecasts and projections are not achieved, possible risk that returns from consumers or channels of distribution may be greater than estimated, the risk that digital sales growth is less than expectations and the risk that it does not exceed the rate of investment spend, higher - than - anticipated store closing or relocation costs, higher interest rates, the performance of Barnes & Noble's online, digital and other initiatives, the success of Barnes & Noble's strategic investments, unanticipated increases in merchandise, component or occupancy costs, unanticipated adverse litigation results or effects, product and component shortages, risks associated with the commercial agreement with Samsung, the potential adverse impact on the Company's businesses resulting from the Company's prior reviews of strategic alternatives and the potential separation of the Company's businesses (including with respect to the timing of the completion thereof), the risk that the transactions with Pearson and Samsung do not achieve the expected benefits for the parties or impose costs on the Company in excess of what the Company anticipates, including the risk that NOOK Media's applications are not commercially successful or that the expected distribution of those applications is not achieved, risks associated with the international expansion previously undertaken, including any risks associated with a reduction of international operations following termination of the Microsoft commercial agreement, the risk that NOOK Media is not able to perform its obligations under the Pearson and Samsung commercial agreements and the consequences thereof, the risks associated with the termination of Microsoft commercial agreement, including potential customer losses, risks associated with the restatement contained in, the delayed filing of, and the material weakness in internal controls described in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended April 27, 2013, risks associated with the SEC investigation disclosed in the quarterly report on Form 10 - Q for the fiscal quarter ended October 26, 2013, risks associated with the ongoing efforts to rationalize the NOOK business and the expected costs and benefits of such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended May 3, 2014, and in Barnes & Noble's other filings made hereafter from time to time with the such efforts and associated risks and other factors which may be outside of Barnes & Noble's control, including those factors discussed in detail in Item 1A, «Risk Factors,» in Barnes & Noble's Annual Report on Form 10 - K for the fiscal year ended May 3, 2014, and in Barnes & Noble's other filings made hereafter from time to time with the SEC.

David Einhorn Video in Defence of Value Investing David Einhorn had written an investor letter in October which, at first glance, appeared to question the fundamentals of value investing — Bloomberg and many other media outlets took his comments literally and ran stories with titles such as «David Einhorn Is Wondering If Value Investing Even Works Anymore».

The grooming ambassadors are professional groomers who appear in YouTube videos and on other media to talk about how to brush the dog's fur, what tools to use based on coat and breed, how to work around delicate areas such as the ears and the theme of bonding with the pet through grooming.

By submitting Content to any Interactive Area, you automatically grant and / or warrant that the owner of such Content, whether it be You or a third party, has expressly granted to the Slow Travel Classifieds the royalty - free, perpetual, irrevocable, non-exclusive, unrestricted, worldwide right and license to use, reproduce, modify, adapt, publish, translate, create derivative works from, sublicense, distribute, perform, and display such Content, in whole or in part, worldwide and / or to incorporate it in other works in any form, media, or technology now known or later developed for the full term of any Intellectual Property Rights that may exist in such Content.

You agree to grant to Tamarindo Diving Center a non-exclusive, royalty - free, worldwide, perpetual license, with the right to sub-license, to reproduce, distribute, transmit, create derivative works of, publicly display and publicly perform any materials and other information (including, without limitation, ideas contained therein for new or improved products and services) you submit to any public areas of the Site (such as bulletin boards, forums and newsgroups) or by e-mail to Tamarindo Diving Center by all means and in any media now known or hereafter developed.

In the new interview Kojima has put his earlier grievances into context, «The media in which we have worked is the Blu - ray dual - layer» offering 50 GB worth of space, this has been more than enough for other games to date, «I must say that if it had benefited from more time and space, [we] would have included a greater amount of content, such as more levels and characters.&raquIn the new interview Kojima has put his earlier grievances into context, «The media in which we have worked is the Blu - ray dual - layer» offering 50 GB worth of space, this has been more than enough for other games to date, «I must say that if it had benefited from more time and space, [we] would have included a greater amount of content, such as more levels and characters.&raquin which we have worked is the Blu - ray dual - layer» offering 50 GB worth of space, this has been more than enough for other games to date, «I must say that if it had benefited from more time and space, [we] would have included a greater amount of content, such as more levels and characters.»

You grant to us a worldwide, royalty - free, irrevocable, non-exclusive licence (including the right to sub-licence) to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform and display any Content (in whole or in part) you upload, post or submit and / or to incorporate such Content in other works in any form, media or technology.

Though in the past decade of work she's incorporated other media such as charcoal and marker into her repertoire, she's continued to explore the themes of skin, blackness and perception in her portraiture.

In this sense, her work is more aligned with artists who prioritized sensorial experience, like James Turrell, Mary Corse, and others of the Light and Space movement of the 1960s, than with film or other such time / media - based art.

Previous rounds have been broad in scope and concept, ranging from topics of activism to architecture, and including disciplines such as design, media arts, drawing, film, installation, intervention, literature, painting, performance, photography, print making, sculpture, and others, such as scientific field work.

Night Vision: Nocturnes in American Art explores the critical importance of nocturnal imagery in the development of modern art by bringing together 90 works in a range of media — including paintings, prints, drawings, photographs, and sculptures — created by such leading American artists as Ansel Adams, Charles Burchfield, Winslow Homer, Lee Krasner, Georgia O'Keeffe, Albert Ryder, John Sloan, Edward Steichen, and Andrew Wyeth, among others.

Reflection on his work leads to the realisation that daily life is largely devoid of sensorial pleasure, that the speed of twenty - first century living is such that moments of undirected thought (minus the rapid - fire imagery of television and other media) are almost unheard - of, and that the aspect of play in adult life (and increasingly that of children too) has been reduced to electronic communication with little or no real social contact or physical interaction.

These works — on view in New Orleans for the first time — span a range of media including collage, drawing, architectural models, animation and short film, and collaborations with other artists on such materials as album covers and children's books.

Although his work is grounded in poetry and was affiliated with William S. Burroughs, Giorno's collaborations and friendships with leading visual and performance artists, such as John Cage, Brion Gysin, Yvonne Rainer, Robert Rauschenberg and Andy Warhol pushed his work into performance, film, painting and other media.

Premier galleries such as Altman Siegel Gallery — San Francisco, CA, The Hole — New York, NY, UNTITLED — New York, NY and Pace Gallery — New York, NY, among others, will present the finest in all media: paintings, works on paper, photography, prints, and sculpture.

Miller's work as a media artist has appeared in a wide variety of contexts such as the Whitney Biennial, the Venice Biennial for Architecture, the Ludwig Museum in Cologne, Germany, the Andy Warhol Museum in Pittsburgh, and many other museums and galleries.

In particular, the initiative will allow for original scholarship on works of art that have been recently given to the Museum, by notable contemporary African American artists such as Nayland Blake, Willie Cole, Lorna Simpson, Kara Walker, and Carrie Mae Weems, as well as by other living artists of many identities working in various types of mediIn particular, the initiative will allow for original scholarship on works of art that have been recently given to the Museum, by notable contemporary African American artists such as Nayland Blake, Willie Cole, Lorna Simpson, Kara Walker, and Carrie Mae Weems, as well as by other living artists of many identities working in various types of mediin various types of media.

If Mirren often plays on her Russian heritage in interviews, and draws on her British working class background in other contexts — in what has become a polarised form of role play to manipulate the media's perception of her — then the images used in this exhibition represent her corresponding parts for film and television that show issues of domination, subjugation and control, such as in The Queen, Caligula and Prime Suspect.

Natalie Frank's work has been covered in prominent publications and media outlets such as Art in America; BOMB, Flash Art, The Huffington Post, Modern Painters, The New York Times and others.

Note: Crafts, kit work or reproductions after original work in other media (such as giclee or photographs), unless used as part of a mixed media work, will not be considered.

Kim also works in other media including drawing, which fills the pages of his book Ki - da Rilke (Sternberg Press, 2011); he collaborates with dogr on music projects such as the CD One from In the Room (2010in other media including drawing, which fills the pages of his book Ki - da Rilke (Sternberg Press, 2011); he collaborates with dogr on music projects such as the CD One from In the Room (2010In the Room (2010).

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In terms of contemporary art, exhibitions include mixed media pieces, print works and a selection of innovative photography from notable exhibitors such as Blain Southern with a showcase of recent works by Abdoulaye Konaté, Sean Kelly presenting photography by James Casebere and Marina Abramovic, and David Zwirner with a variety of pieces by Francis Alÿs, Carol Bove, Donald Judd, Yayoi Kusama, Wolfgang Tillmans and others.

This year, acclaimed artists such as Vito Acconci, Catherine Opie, Glenn Ligon, Ed Ruscha, Zarina Hashmi, Lorraine OʼGrady, Fred Wilson, Penelope Umbrico, John Baldessari, Roger Hiorns, Kerry James Marshall, William Wegman, John Waters, Marcel Dzama, Kiki Smith, Ernesto Pujol, Kay Rosen, Lawrence Weiner, Harmony Hammond, Barbara Takenaga and others have joined emerging artists in submitting new works in a variety of media including painting, drawing, photography, collage and mixed media.

Artmart is truly dedicated to the real grassroots arts community and no other fundraising art campaign in Hong Kong brings together such diverse artists working in media of all kinds, including visual and performing artists.

«6B Desenho Contemporâneo Brasileiro» is a group show with participation of 47 Brazilian artists working with drawing in its broadest expressions: paper, wood, canvas and other media, with materials such as graphite, charcoal, airbrush, photography, several threads and digital techniques, and installations.

Works in a variety of other media such as animation, film and site - specific sculpture are also included, plus a large - scale granite sculpture by the Brazilian artist Iran do Espirito Santo in the Formal Gardens.

Contemporary artists manifest broad and sometimes ambivalent responses to technology; in this exhibition diverse works by Anne Wilson, Milos Manetas and others address a fundamental question of modern life, probing Information - Age content through traditional media such as painting and fiber arts.

Perspectives 173: Clifford Owens features photographs and video from his collaborative works with artists such as Gregg Bordowitz, Patty Chang, William Pope.L, as well as drawings and work in other media.

Incorporating in - depth research and astute readings of cultural situations, his incisive works have addressed ideas such as the relationship between public and private, the flows of information along the media landscape, and the inherent power of architecture and other social frameworks.

In 2009, Kruger's postmodernist art was included in the important «Pictures Generation» exhibition at the Metropolitan Museum of Art, New York, along with works by other postmodernist artists of the 1980s involved in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952In 2009, Kruger's postmodernist art was included in the important «Pictures Generation» exhibition at the Metropolitan Museum of Art, New York, along with works by other postmodernist artists of the 1980s involved in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952in the important «Pictures Generation» exhibition at the Metropolitan Museum of Art, New York, along with works by other postmodernist artists of the 1980s involved in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952in the appropriation of images from the media, such as Sherman, Jack Goldstein (1945 - 2003), Louise Lawler (b. 1947), Sherrie Levine (b. 1947), Robert Longo (b. 1953), Richard Prince (b. 1949) and David Salle (b. 1952).

The exhibition, to be held in the Shanghai Art Museum until March 28, includes over 50 works by 14 artists, such as Zhang Peili, dean of the new media department in CAFA, Zhao Bandi, known for his serial pictures with a stuffed panda toy, and many others widely exhibited at the Venice Biennale, the Shanghai Biennale, Documenta Kassel and other leading international visual art exhibitions.

Artists such as Thomas Struth, Eve Sussman, José Manuel Ballester, Claudio Bravo and Manolo Valdés have created significant and highly original works in various media such as photography, video, sculpture and painting, influenced by famous paintings of Velázquez, Goya, Bosch and others.