Sentences with phrase «early posters showing»

Early posters showing black people gathered around an open grave, for example, hardened resistance to AIDS information because it was seen as racist and frightening.

Not exact matches

Very early on, there are comments by Christians who showed no compassion for a couple of posters that lost children.

as a poster has commented, 1 or 2 seasons with the same tactics and favoritism he has shown in the last 12 years would have meant he would have been shown the door earlier

Earlier today we brought you the first promo for Marvel's upcoming Guardians of the Galaxy animated series [watch it here], and now we have a couple of posters for the new seasons of Avengers Assemble and Ultimate Spider - Man, with both shows undergoing a rebranding to Avengers: Ultron Revolution and Ultimate Spider - Man vs. The Sinister 6... -LSB-...]

Stemming from an obsession with the art house film posters that decorated the exterior walls of local movie theatres, the book shows Refn's earliest visual connection with film, including the vintage visuals of SPIKED HEELS AND BLACK NYLONS, OBSCENE HOUSE and ALICE IN ACIDLAND to THE TWISTED SEX, TORTURE ME KISS ME and ZERO IN AND SCREAM.

The studio headed to social media to post an image showing the early teaser posters for all of the upcoming movies, along with release dates for each one.

We reported earlier on a 4Chan discussion thread in which the original poster claimed that Samsung showed off the Galaxy Nexus at his place of work.

Looks like Machinima let the cat out of the bag early and accidentally posted an invitation poster on one of their youtube videos (although I'm not under embargo, I'm not showing it out of respect for Sega).

It is being shown in the United States for the first time, surrounded by an extensive display of Russian film posters from the 1920s and early»30s.

Since the early sixties Schumann and his puppeteers have been pouring out work after work on every scale: political works, mysterious works, grand works, modest works, works on the street and works in fields, works to be played in every size theater on four continents, books, prints, posters, and banners which live as show - and - tell in so many homes.

The wonderful Michael Walton, head of retail and poster commissioning at London Transport Museum, came along to one of my early solo shows at Clapham Art Gallery in around 2001.

The heart of the show is «Raymond Pettibon: The Punk Years, 1978 - 86,» a traveling exhibition of more than 200 flyers, posters and album covers created for punk bands of that era — chiefly Black Flag and other Los Angeles bands at the center of the early Southern California scene — as well as early artist books like «Console, Heal, or Depict» or the «Tripping Corpse» series.

One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words «IN» and «AND» amid layers of peeling layers of posters.

Except for a few earlier examples, the photographs shown in the new book OX Public Posters, published by International Neighborhood Verlag and distributed by Gestalten, are selected from the three hundred or so paintings he has placed on public billboards around the world from 2004 to 2014.

In addition to the paintings, sculptures, drawings and environments, viewers will encounter posters, letters, cards, and invitations that relate to Kusama's early exhibitions and events — including her first solo show, which took place in Seattle — a slideshow of Kusama's performances as well as an interview with the artist filmed on the occasion of this exhibition.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

The show illustrates the ideals and limitations of the utopian imaginings by artists of the 1960s and early 1970s with early computer graphics imaging, speculative architecture proposals, political posters, and installation art.

The exhibition shows recent works such as The Crocodile Who Ate The Sun (1982/2015) as well as earlier works, namely the 2008 video responsible for Mroué's rise to prominence on the international scene, entitled On Three Posters.

The data shown from Johannessen shows that while a similar temperature rise occurred in the Arctic in the early and latter 20th century, the latter has resulted in a higher temperature (as stated by several posters).

The abstract of the poster is shown below, and it is followed by links to earlier posts on Shapingtomorrowsworld that present the arguments in greater detail:

One trailer showcased the Thunderjaw, the «poster monster» shown in early promotional materials.