Sentences with phrase «worse than their contemporaries»

Battery life was slightly better, but still worse than its contemporaries using Snapdragon's SoC designs.

Not exact matches

On the other hand, what lends an air of unreality to Kierkegaard's works is that our problems are so much worse than those faced by him and his contemporaries.

The longing to move out of time (which involves change and so is «bad») into a state of timeless permanence (which is therefore «good»)-- characteristic of most post-Aristotelian philosophy and much contemporary Christianity — is thus seen to have more in common with Platonic dualism than with biblical witness.

@Cheesemakers «There are zero contemporary historical accounts of Jesus, nothing of what you claim as evidence are anything more than hearsay, and bad hearsay at that.»

There are zero contemporary historical accounts of Jesus, nothing of what you claim as evidence are anything more than hearsay, and bad hearsay at that.

And yet, bad and down as Alan is, it is possible that this neologism is less an authentic representation of contemporary slang than the work of those who want to take him down (in the polls, of course).

Banderas» charming, often comic performance, a cute one by child actor Adrian Alonso as Zorro's son and pint - sized counterpart, an amusing one by Rufus Sewell, who plays his villainous role as a Hispanic Christopher Walken, some imaginative PG - rated methods of disposing of the bad guys and a number of rather audacious parallels to contemporary politics and warfare place this clearly in the «guilty pleasure» category; like the original, it's notably longer than it has any right to be (perhaps Steven Spielberg executive producing both of them is a factor?)

Promptly trading it in for a herd of horses, Russell, taking a stage back to his relocated homeland, encounters virulent racism, bandits, and bad intentions with an inscrutable reserve laced more with melancholy than the general sociopathology of Clint Eastwood's contemporary Man With No Name.

The only thing worse than a dull movie is one that tries to disguise it with razzle - dazzle, and director Baz Luhrman's kitschy vision of the Roaring 20s is so oversaturated in style and off - the - wall choices (like the use of a contemporary, mostly hip - hop soundtrack) that he completely ignores the many nuances of Fitzgerald's novel.

Three more novels followed, one worse than the last - two mysteries and a contemporary spy novel.

2010 Bernabei, Valentina, «Ishmael Randall Weeks,» Flash Art, December Saldari, Eloisa, «Da Federica Schiavo Le Transformazioni Orogenetiche di Randall Weeks,» ARTEeCRITICA, no. 65 Agliottone, Marianna, «Ishmael Randall Weeks, a Solo Show,» Exibart Magazine, September Catton, Pia, «Greater Visions of Contemporary Art,» The Wall Street Journal, May 2 Viveros - Fauné, Pia, ««Greater New York 2010» is Worse than the Biennial,» The Village Voice, June 2 Paul, Carlos, «Artista Utiliza Arquitectura y Urbanismo para Reflejar Los Movimientos Sociales de AL,» La Jornada, May 7 Harris, Jane, «Slash: Paper under the Knife,» Time Out New York, January 14 — 20

Academic specialization is bad for art, and has led to a situation in which contemporary art seems more unmoored from its past than at any other moment in history.

There's nothing worse than being in a fancy contemporary art museum and feeling the urge to touch the exhibits.

In the worst case (e.g. the Broad Contemporary Art Museum in Los Angeles), the works appear to be assembled more by checkbook than by an identifiable taste or vision.

Traveled to International Print Center New York; Contemporary Art Museum, University of South Florida, Tampa, FL; Ezra and Cecile Zilkha Gallery, Wesleyan University, CT. (catalogue) Plinth Guest Artist Project (Liz Collins Energy Field), The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY Queering the Bibliobject, The Center for Book Arts, New York Harlem Postcards Fall / Winter 2016 — 2017, Studio Museum in Harlem, New York Bad Faith, James Fuentes Gallery, New York November's Bone, Halsey McKay Gallery, New York 2015 Your smarter than me.

Trees in Contemporary Art Altana Kulturstiftung, Bad Homburg Animal Mineral Vegetable Andrew Kreps Gallery, New York Allegory of the Cave Painting Extra City Kunsthal, Antwerp Alchemy NEST, The Hague Size Matters Foundation for Art Fort at Vijfhuizen, Vijfhuizen Picture This SALTS, Birsfelden Halftone: Through the Grid Galerie Max Hetzler, Berlin Beating around the bush Episode # 1 Bonnefantenmuseum, Maastricht Objects in mirror are closer than they appear Lugar a Dudas, Cali RE: Painted S.M.A.K., Ghent video screening 25 Zero, Milan Amnesia Nadácia - Centrum súčasného umenia, Bratislava 2013 Behind Images Garage Rotterdam, Rotterdam (catalogue) Traces Stedelijk Museum, s - Hertogenbosch Agora 4th Athens Biennale, Athens On the Road to... Tarascon, Adrian Ghenie and Navid Nuur Plan B, Berlin Passion de l'Art en Finistère / Collection # 4 Centre d'art contemporain de Quimper (T) HERE Bonnefanten Hedge House, Wijlre Flex - Sil Reloaded Kunst Halle St. Gallen, St. Gallen Casey Kaplan, New York The Image in the Sculpture Centre Pompidou, Paris (curated by Christine Macel and Navid Nuur) Time, Trade and Travel Stedelijk Museum Bureau, Amsterdam Small Gestures MU / Strijp S, Eindhoven Mesures et disparition / Over maat en verdwijning Institut Néerlandais, Paris It wasn't there yesterday Raster Gallery, Warsaw 2012 This Title is an Artwork of Mine Motto Charlottenborg, Copenhagen (curated by Mikkel Carl) The Castle in the Air.

AS THE LAWRENCE WEINER RETROSPECTIVE at the Whitney Museum fades to white under multiple coats of Kilz and latex paint, and his various exuberant ephemera take up residence at LA MoCA before wending their way back to their rightful property owners; as Tate Modern and the ICA London emerge from momentary spells of whispered headlines, random sketching, streams of consciousness, and face slapping; as New York's New Museum concludes its vestigial assault on the Work of Art, not to mention the etiquette of proper spacing, and as visitors to the new building experience the worst case of buyer's remorse since the reopening of the Museum of Contemporary Art, Chicago; as the Metropolitan Museum's Dutch paintings readjust to the staid organizing principles of artist's name, date, and genre rather than hanging according to who bought what from whom (on whose advice) and resold it to so - and - so, who then donated it to the Met; and as the scent of modesty - prosaic, charcoal filtered, crystalline - emanates from the 2008 Whitney Biennial, now is as good a time as any to talk about money.

For many, the definition and understanding of «sculpture,» and even more so the term «sculptural,» has been expanded to the point of collapse within contemporary artistic practice while contracting within popular culture to the point of obsolescence (think no further than every bad public sculpture and memorial controversy or the trendiness of using «sculptural,» or as a comparison «architectural,» to describe everything from clothing design to cuisine).

They can tell from the kind of problems — with hearing the television or using the telephone — that the appellant reported, however briefly, in this case; and they can also, in a broad way, judge if those problems seem to be worse than those experienced by their contemporaries.

In a contemporary setting perhaps it wouldn't have been so bad, other than it was very poorly constructed.