Sentences with phrase «mirror image another work»

MIRROR IMAGE Another work by Fukuda, Underground Piano, looks like a pile of piano parts unless you stand in the right place and view the «reassembled» piano in the mirror.

Not exact matches

Then you'll flip the scarf over so that you can work back across the starting chain to create a mirror image of the first half of the scarf.

From the polishing of lustrous metals for mirrors to the recognition that glass could be worked to focus images to give us lenses and spectacles and the possibility of corrective vision, that fascination has had a practical bent.

Palmer and his colleagues note their work demonstrates the remarkable control the scallop exerts over the growth and arrangement of crystals to make a highly reflective mirror capable of forming functional images.

He is also developing mirror - image versions of peptides that work against the Dengue and Zika viruses in order to make them more durable in the bloodstream.

To find out if neurons indicate the planning of the future visualized movement or the physical movement, the neuroscientist worked with rhesus monkeys which were shown mirrored images of their hand movements during parts of the experiment.

One hypothesis is that a lateralized brain is more powerful than one that works like a mirror image.

In this image the James Webb Space Telescope's secondary mirror is worked on by several engineers at NASA's Goddard Space Flight Center in Greenbelt, Md..

...» buy cute, new work out clothes» or «post an image of what you want to look like on your bathroom mirror» or «get a work out buddy.»

Worked very well, even though I have to get used to my image in the mirror.

the interior seen on the second pic is again a mirror image from the avalon press photo why do people that make these photochops check the quality of their work?»

New Work will pick up where that exhibition left off, as Semmel continues to capture, with bold brushstrokes, her own aging body as she sees it, from above and mirrored, in constantly shifting images.

Kruger worked in magazine publishing, where her X-Acto knife led her both to collage techniques and to such images as a shattered mirror.

She approaches her self portrait by painting from a mirror, but works from video images of the children.

EAST HAMPTON, NY: Eric Firestone Gallery presents MirrorMirror, a group exhibition featuring works by artists concerned with reflective surfaces, the quality of a mirrored object's reflection, and doubled images.

Liam Gillick's exhibition «Three Perspectives and a Short Scenario * Work 1988 — 2008 Mirrored Image: A «Volvo» bar» at Kunstverein...

Working with a group of young Munich actors within a structure designed by the artist, Liam Gillick produces and directs a play titled «Mirrored Image: A «Volvo» bar».

Books - Forewords / Catalogue Essays Reduced Shakespeare Company «Reduced History of Art» project, AAF, 2014 Alan Gouk, New Small Paintings, 2014, HSoA Kelvin Okafor, Albemarle Gallery, 2014 Deborah Azzopardi, Cork Street, 2014 McAlpine Miller «MIRROR MIRROR» 2014 & «Altered Images» 2013, Washington Green Castle Fine Art Jane McAdam Freud «Family Matters», Gazelli Gallery, Mayfair, 2012 Simon Gudgeon, Isis sculpture Serpentine Hyde Park, 2012 Martin Yeoman, Petleys Gallery Mayfair, 2011 Izabella Kay, Cork Street, 2011 Henry Moore at Work Noa Lidor «Doubting Thomas», Madrid Osvaldo Mariscotti, New York Hampstead Artist» Council 50thAnniversary Learn As You Colour Modern Art for Children

Liam Gillick: Three Perspectives and a Short Scenario * Work 1988 — 2008 Mirrored Image: A «Volvo» bar at Kunstverein München runs until November 16, 2008.

Liam Gillick's exhibition «Three Perspectives and a Short Scenario * Work 1988 — 2008 Mirrored Image: A «Volvo» bar» at Kunstverein München is the third act of the large mid-career retrospective, that the four institutions Witte de With, Kunsthalle Zürich, Kunstverein München and the Museum of Contemporary Art in Chicago conceived.

In an untitled work from 1963 a labyrinthine and dense series of black lines simultaneously resembles a thumbprint and a black hole of space; in an inkblot drawing from 1995 the small mirrored shapes recall the self - reflective quality of fleeting images of inner thought.

Printed onto mirrored glass, when installed within the gallery, the works overlay architecture and image, dissolving the boundaries between picture, surface, and site.

With mirrored elements along the surface of each work, the reflected image of the exhibition environment then becomes, temporarily, integrated with the work itself.

The resulting compositions, which mingle 21st - century digital technology with traditional labor - intensive hand work, are legible as recognizable images only at a distance or in the stainless steel convex mirrors installed in the exhibition.

De Kooning worked on multiple paintings simultaneously, using vellum to invert, mirror, or replicate a movement and transfer the image from one work to another or to study a movement from both sides, working on both recto and verso of the page.

For those who don't know, Dubya has taken up painting in his retirement — recently, the Internet was flooded with hacked images of supposed early works, which included a scene in which he is depicted naked from the back in a shower, his face revealed in a tiny hanging mirror.

While her earlier work looked at art museums as places for worship or contemplation — in the vein of cathedrals or pilgrimage sites — and artworks as objects of faith, her recent works, such as Deposit III (2015), give more importance to painting as an actual object in its own right: «It allowed me to leave bi-dimensionality, unhang [painting] from the wall and naturally add other supports of images (video, mirrors, printed matter, found paintings) and link them to a same genealogy.»

The eclectic selection of Pistoletto's works includes his well - known series of Mirror Paintings, images printed on polished steel, which performs as a mirror and incorporates the viewer's reflection into the body of the «painting».

Both these images include the motif common to a number of these works: a mirror is held in a landscape by two bodiless hands.

The witty, fantastical, post-modern, post-colonial work of Yinka Shonibare, emerges in this exhibition as the uncanny mirror image of the pre-Modernist, overtly imperialistic works of the founders of the School at which he studied.

Presenting a painting from his well - known body of work «Black Dada» as well as a work from a series layering text and images on mirrored stainless steel, Adam Pendleton's works in this exhibition give material form to the artist's engagement with a dynamic idea of history; one that is ever mutable and reflective of subjective and infinite narrative potentials.

The increased number of Asian galleries was matched by their quality: Shanghai's Leo Xu Projects offered an excellent — although very cramped — group show of the work of emerging artists in which huge mirrored screens bearing printed images of landscapes vied for position with quieter works, such as a composition made up of hundreds of rows of tiny brown - paper squares with their bottom left corners delicately curled upwards and aaajiao's vertical sequence of smartphones collectively displaying a video of a long stream of water.

Horn's work also embodies the cyclical relationship between humankind and nature — a mirror - like relationship in which we attempt to remake nature in our own image.

The bronze colored ink creates a mirror - like surface that reflects an imperfect image of the viewer and the surrounding works.

Also included in the exhibition are a series of new fluorescent silkscreened Women Parts, porcelain - baked enamel on steel panels, halftoned models on linen, and mirror polished stainless steel works with etched figures — which resonate with the neon lights, layering images in reflection.

Boldly experimenting with her sculptural language, Xiang Jing is also mindful about engaging space and mirror images when creating and installing her works.

Speakers include graphic artist and illustration mastermind Jean Jullien, whose iconic» Peace for Paris» symbol became an instant global meme; children's book author and illustrator You Jung Byun, known for her detailed narrative and commissioned work inhabited by strange beasts and lost children; everyone's favourite gif - wunderkind Julian Glander, creator of bubblegum - coloured digital illustration, indie games and interactive artwork, all subsumed under the catchword «digital toys»; animator, writer, and producer Ben Bocquelet, creator of the famed animation series «The Amazing World of Gumball `; Martina Paukova, illustrator with an incredibly fast - paced career, whose jam - packed images in a trademark palette and Memphis - inspired patterns mirror our mundane lives in the digital age; and Jaime Álvarez, renowned for his 3D rendered Mr. Kat (PE) universe, fusing pre-Columbian with contemporary kawaii aesthetics.

The work on show at Plus One Gallery juxtaposes his signature massive painted portraits, with small pencil drawings which mirror in miniature the painted images.

New Yorker Rachel Rose's 2015 video work «Everything and More,» about astronauts and the cosmos, was shown at the Whitney Museum of American Art; Wakefield felt she'd take a mystical approach to Desert X. Images of Smith's LED - illuminated, mirrored shack in Joshua Tree, «Lucid Stead,» went viral in 2013, he'd likely create another colorful, Light and Space Movement - inspired work for Desert X. Aitken's immersive video installation «Diamond Sea,» which was presented at the Whitney Biennial in 1997, explores southwestern Africa's Namib Desert.

The visual collage of the musicians is mirrored in the audio remixing and layering of the composers» works, the apparent chaos of sound and image settles into a drone and trance feeling, present at the heart of both musicians» works.

Collages from his Mask series will be shown, in which glamorous sitters» faces are overlaid with scenic postcards featuring waterfalls bridges, seascapes; Untitled (Film Portrait Collages) in which photographs of B - movie actors are spliced together; and other works that combine and mirror photographs to subtly destabilise the image.

Her installations, video works, and performances bring these components together with drawings, props, objects, and language, reflecting her research into how the image is altered through the mediums of mirror, distance, video, and narrative.

These works are made from sheets of mirror - finished stainless steel, fitted with a full - length portrait photograph that has been meticulously traced and painted onto its surface (after 1971 the image was silkscreened on).

For his contribution to the Hayward Gallery's series of artist - curated projects, Wallinger explores the notion of liminality — an intermediate or transitional condition — which is illustrated through the thresholds and borders, simulacra and mirror images found in the work of William Blake, Vija Celmins, Tacita Dean, Thomas Demand, Albrecht Dürer, Bruce Nauman, Guiseppe Penone and Fred Sandback.

For the works in the Shiner series, created between 1986 and 1993, the artist silkscreened his own photographic images onto steel or mirrored aluminum plates alongside three - dimensional metal objects.

For some, he made pairs of works by blotting compositions with clean paper, creating a mirror image that Shapiro then obfuscates by adding new colours or changing the orientation of the paper.

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

Within the context of the exhibition, Shonibare's work explores the social constructs which inform the human condition by examining racial and cultural stereotypes through juxtaposing a white and a black ballerina dancing each other's mirror image in what is traditionally a solo from Swan Lake.

Commonly referred to as mirror paintings and comprised of photo - silkscreened images on steel, these signature works were developed in 1962 and represent the artist's dual interest in conceptualism and figuration.

Aitken's work draws on many other artists — text and image paintings by Ed Ruscha; video ruminations on animal intelligence by Diana Thater (Aitken's fellow student at Art Center College in the late 1980s); Bruce Nauman's insistent demand to audiences to «Please Pay Attention,» repeated in an Aitken light - box; Bill Viola's technical video - theatrics; Jack Pierson's faded wall texts composed from scavenged commercial signage; the mirrored sculptures of Robert Smithson, avatar of entropy; Yayoi Kusama's infinity chambers, and more.