Sentences with phrase «works riffing»

David Diao, who first won acclaim and public attention with an exhibition at Paula Cooper gallery in 1969, has dedicated two decades to making his famous works riffing on famous Modernist paintings.

Titled «Memory as Medicine,» this near - two - decade survey (organized by Carol Thompson and Michael Rooks of the originating High Museum of Art in Atlanta) featured thirty - one works riffing on key chapters from the grand narrative of black history, with frequent allusions to tribal West Africa, aptly demonstrating the artist's inspired ability to present his modern world as a continuum with his genetic past.

The most appealing of these pairings brought together works riffing on vernacular sign - and note - making.

Her works riff on past styles; the tensions between pictorial and actual space; the eternal conflict of abstraction and image; the act of looking, including peripheral vision.

«I'm interested in painting as a hyperbolic gesture, one that interweaves wave - lengths of light color, and structure into a form both frozen and animated...» Sampson's work riffs on notions that Donald Judd and James Turrell's work explores, but his intuitive, less rigorous approach seems well - suited to our DIY times.

Not exact matches

Keen's primary frame for the work is Utopia, Thomas More's celebrated 1516 work that was written in an age that experienced some of the same turmoil and dread as our own (there are extended riffs on Moore's Law versus More's Law).

Because even in 2015 I still see people riffing on ideas and working on business plans, product flows or coding on projects without first forming a company, signing contracts that assign intellectual property to that company and trusting that «friends» would never sue you.

It has certainly worked for Rolling Stones guitarist Keith Richards, getting him the main riff of his most famous composition, «Satisfaction.»

Poor health can be expensive too, and stress makes people less productive at work, which causes other problems, said Joshua Riff, Medical Director at Target Corporation, at the Harvard stress forum.

In a forthcoming short article in Canadian Business, I riff on a recent Globe and Mail story about a South African winery that is working hard to face up to its slave - holding past.

Until the axe came down, I'm told British action game studio Ninja Theory had been working on material based on December's Rogue One: A Star Wars Story, while Studio Gobo, a studio largely known for external Disney Infinity development, riffed on the upcoming Disney animated film Moana.

That's one of the lovely things about granola: you can riff and experiment and change the flavors around and it will still work wonderfully.

My delicate riff on the treat is a bit healthier, with all natural sweeteners and lots of superfood ingredients like chia seeds, cacao nibs, and pink Himalayan salt (but obvi any old salt will work!).

Riff worked on LGBT outreach for Bloomberg's successful campaign for a third term last fall.

I love the glamour and wit in his work, like this riff on a comic (above).

It helps to deter those that are not serious about the process, aren't financially set enough to invest in the process, and works almost as a barrier to entry to keep out a lot of the flaky riff raff.

Weeks, months or even years after your breakup, the thoughts of dating, from putting yourself out there, setting up a date and riffing over surface subjects like work, your.

Tunes such as «Escondite Ingles» work in any language, mixing mad Latin percussion with big rock riffs and Carribbean rhythms.

Nourizadeh, working with a script by Max Landis, plays Mike's bloody violence like visual guitar riffs, and approaches the martial - arts set pieces with heavily underlined wit.

It won't always make sense, but there is a consistent earnestness to its oddity that somehow makes it all work in harmony of»80s saxophone riffs and overly - affected Boston accents.

Some of the character models aren't great (though the voice work uniformly is), there are some graphical issues here and there, and the testosterone - injected guitar riffs that underscore the firefights seem at grating odds with the setting and story.

Making its American debut Sunday via the PBS series «Masterpiece Mystery,» 201 years after Elizabeth Bennet finally said yes to Mr. Darcy, it's a highly satisfying riff on the original work, as well as a credit to the modern British costume drama.

Peele works well with actors too, drawing a great leading man turn from Kaluuya, letting Williams essentially riff on her «Girls» persona, and knowing exactly what to do with Whitford & Keener, both of whom have always had that dangerous edge to their amiability.

If you root around on YouTube a little bit, you can find the outtakes from «This Is 40,» in which Melissa McCarthy works out various riffs insulting Paul Rudd and Leslie Mann, and it is flat - out brilliant.

Her work has led readers and listeners on explorations of the gendered and racialized double standards surrounding double - eyelid surgery, as well as the mysterious origins of a so - called «Oriental» riff — a word she's also written a personal essay about.

And his work with actors is exemplary, from the veterans (you expect the best from Keener and Whitford — and you get it) to the newcomers; Kaluuya is a star in the making, and Williams takes a riff on the character she played on Girls to places Lena Dunham never investigated.

Again, these films were a throwback to film history, with O Brother riffing on the work of director Preston Sturges, Cruelty being inspired by the screwball comedies of the 1930s and Burn owing a heavy debt to the paranoia political dramas of the 1970s - a period which appears to have inspired a cast amount of Clooney's cinematic output.

The crime scene precisely resembles the one in Poe's story «The Murders in the Rue Morgue,» and before long a valiant police detective (Luke Evans) has enlisted the author to help capture a serial killer who's riffing on Poe's work.

An extended, affecting riff on Tennessee Williams» «A Streetcar Named Desire», Blue Jasmine tones down the melodramatics and sexual tensions to reposition its Blanche Dubois as a ruined New York socialite (Cate Blanchett) forced to rely on the kindness of her working - class sister (Sally Hawkins) when she is bankrupted by criminal husband Hal (Alec Baldwin).

The film's simple plot of these four individuals bonding over this new Neighbourhood Watch team mixed in with an alien invasion keeps things low - key enough that the intensely amazing aforementioned riffing nature work so well.

Riffing shabbily on superior works like The Thomas Crown Affair, Trouble in Paradise, and, hell, even Dirty Rotten Scoundrels, Ficarra and Requa depict a world of glamorous criminality and luxurious sex.

Director and co-screenwriter Harold Ramis is aiming for a Hope - Crosby road picture feel, which only works if the lead actors know how to riff off each other.

With its shameless (and not always successful) riffs on other movies, frequent references to his own previous work, and slant toward broad antics in general, even Smith has called Strike Back «a step backward» in his progression as a filmmaker.

If the film's riff on «The Champ» works at all, it's because of the lived - in relationship between Gyllenhaal and Laurence, and it suggests big things to come: she was also excellent in SXSW drama «Lamb» and as the young Pensatucky in «Orange Is The New Black» this year, and is playing a lead role in David Lowery's upcoming «Pete's Dragon.»

Consider that the first major riff of the film is indie - coffee - shop barista Delaney (Craig Robinson) saying to his boss, «You're asking a black guy to work on Black Friday?

Like Smokey and the Bandit, The Concrete Cowboys works when it does because of the down home country dialogue and spirit, with Selleck and Reed riffing off each other energetically for a few yuks, while the country music scene plays prominently into the entertainment.

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

Michael Almereyda is an interesting and ambitious filmmaker (his 1994 vampire film «Nadja» is one of the better contemporary riffs on the genre) who doesn't work as often as he should.

Moore's work is evident in both of these behind - the - scenes looks at the making of La La Land, including the glorious waltz sequence that is part of the film's seven - minute epilogue and the jazz whip sequence featured in a split screen with Emma Stone's dancing and Ryan Gosling's piano riffs.

There are the expected scenes of actors riffing all over each that populate most modern comedies, but also hints at a bigger budget and attention to aesthetics like nifty camera work, tilt - shift photography, and some decent action set pieces.

The Car was conceived as a cash - in — an easy riff on Jaws with the working title Wheels -LRB-!)

Following some solid supporting work in Drive, and surviving the unfathomable catastrophe that is Zack Snyder «s Sucker Punch, in 2011, 2013 brought him into the spotlight with his emotionally wrecked, exquisitely melancholic performance as the titular folk singer in the Coen brothers» Inside Llewyn Davis, followed by an excellent turn in J.C. Chandor «s A Most Violent Year, a better - than - average Sidney Lumet riff from 2014.

Having actors like Mark Duplass (The League), Evan Peters (American Horror Story, X-Men: DoFP) and Donald Glover (Community) riffing off one another works naturally and organically - and somehow even believably as a team of science whiz kids.

Finally, someone let him direct his own script, and the result was Kiss Kiss Bang Bang, a riotous riff on the hard - boiled works of Raymond Chandler (chapter titles are all from Philip Marlowe novels: Lady in the Lake, The Simple Art of Murder, The Little Sister, etc), that nimbly satirizes the movie business, detective - movie plotting (there are always two cases that implausibly tie up together), the action hero as idiot and the conventions of the film noir voiceover («Oh shit, back up, back up, I forgot to mention — Jesus, this is terrible narration, it's like my dad telling a joke and saying, oh, I should have told you the cowboy's horse is blue...»).

riffs on «Comedians in Cars Getting Coffee», but with Stanton driving Albert Brooks, Ty Burrell, and Eugene Levy to work.

Schrader's riffed on Bresson's film before with his script for Taxi Driver, still his best - known work despite a career littered with masterpieces of individual fears, men in isolation from God, and spiritual self - loathing.

This seems to be a riff on America, as the Kingsman guys end up working with an American agency.

Veering from devastating, microscopic detailed character work in «Wendy and Lucy» to nimble semi-comic riffing in the «Synecdoche, New York» ensemble, with a great work in the not - so - great «Incendiary» somewhere in between, she demonstrated both fierce chops and canny taste in projects.

The film does have a very appealing cast, with the bro - mantic leads seeming like they'd work well together if there were anything remotely funny for them to riff on in between the forced chaos.

You can practically diagram every scene in the film: The ones that slip in the backstories of the characters (Affleck's wife is eight months pregnant; Sibide's work visa is about to expire), the ones that reveal important information in - between the laughs (Tea Leoni's excellent moment as an FBI agent who's had too much to drink), the ones intended to inject some emotion into the picture (an attempted suicide) and the ones where the actors were allowed to riff and improvise (practically any scene in which Murphy appears).