Sentences with phrase «american image displays»

Not exact matches

His near - parody trademarks are still on display (excessive slow - motion, and you better believe just one image of a bullet - riddled American flag isn't enough) but these are well - staged, pulse - quickening sequences.

The marketplace isn't the only area where sport - utility manufacturers are battling.An image war also is brewing as automakers try to position their offerings as the most rugged, most experienced, most user - friendly, etc.At the North American International Auto Show this week, automakers are displaying their off - road vehicles for maximum effect.

However, the American car manufacturer has revealed a teaser image of the upcoming muscle car that displays its overall proportions.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

TOP IMAGE: Alma Thomas inspects two of her paintings on display, n.d. Alma Thomas Papers, Smithsonian Archives of American Art

His image displayed in the National Museum of African American History and Culture in Washington, D.C., is called «Strange Fruit,» after the Billie Holiday song about lynchings of African - Americans.

The American nickel displays a portrait of Thomas Jefferson, and on its reverse is an image of his famed estate, Monticello, both sides of which were visible in the Shainman exhibition.

The series, which charts the mass migration of African American's from the rural South, was last displayed in its entirety in 1994 (image at top of post).

In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.

Datuna previously displayed Emblem and Image — a series of collaged American flags also covered with lenses — at Birnam Wood in the fall of 2012.

The display of New Order's music video Bizarre Love Triangle (1986) by late American artist Gretchen Bender traces early appropriation with its rapidly edited images sourced from mass media, while Louise Lawler, another iconic American artist who came to prominence in the 80s, is also included for her work which highlights how artworks perform within their context.

Mixing texts by the French thinker and activist Simone Weil, and large numbers of photographs, including harrowing Vietnam war images, American landscapes by Ansel Adams, August Sander's portraits of national socialists, and much besides, the display is intended as an introduction to Weil's times and thoughts.

Syms displays snippets of what the artist describes as «orphaned media», lost or discarded images of everyday life, randomly playing out as signifiers of American identity, or at least a filtered media - prescribed version, mimicked by Facebook and home videos.

San Francisco's Highlight gallery displayed digitally manipulated images of architecture by Filip Dujardin, a Belgian photographer; Houston's Moody gallery showed mirrored sculptures by Edward and Nancy Reddin Kienholz, an American duo; and New York's Marlborough Chelsea gallery had geometric canvases by Andrew Kuo, and American artist.