Sentences with phrase «archival black»

Their monochrome tones also suggest and make reference to archival black and white photography, and the timelessness of their subject matter.

Fujicolor Crystal Archive print, printed 2001 10 1/4 x 8 1/4 inches Signed «Cindy Sherman» and dated «1975/2001» by the artist in ball point pen on the verso Framed in an archival black wood frame

Silver gelatin print 7 1/2 x 5 1/2 inches: image 10 x 8 inches: paper 15 1/2 x 13 1/2 inches: frame Edition of 100 Signed, Dated and Titled in pencil on verso «Cindy Sherman 1980/2001 Untitled (Under the WTC)» In an archival black wood frame Literature Peter Galassi and Cindy Sherman, Cindy Sherman: The Complete Untitled Film Stills, Museum of Modern Art, New York, 2003, a similar image reproduced page 41.

Lambda C - print 30 x 20 inches: paper size 32 3/4 x 22 1/2 inches: frame size Edition of 350 Signed, Numbered and Dated in Pen by Cindy Sherman on the verso © 2005 Cindy Sherman In an archival black wood frame Museum Collections Williams College Museum of Art, Williamstown, MA Phyllis Tuchman Collection, (TL.2007.74.38) Museum of Fine Arts, St. Petersburg, FL

'' The world is my language», museum archival black & white silver gelatin prints (Korea / Mexico); narrative photography.

Not exact matches

Using 12 years of archival data from NASA's Chandra X-Ray Observatory, a team led by Columbia University astrophysicist Chuck Hailey has found a dozen potential black holes within a few light - years of the Milky Way's center, well within the gravitational reach of our galaxy's supermassive black hole.

In July, Thomas Reynolds, Morgan Fraser and Gerard Gilmore, all at the University of Cambridge, reported they had seen another supergiant fade to black amid a star cluster in archival Hubble Space Telescope observations of the galaxy NGC 3021.

Using archival data from the Sloan Digital Sky Survey, and the XMM - Newton and Chandra X-ray telescopes, a team of astronomers have discovered a gigantic black hole, which is probably destroying and devouring a big star in its vicinity.

Combing through archival data from NASA's Chandra X-ray Observatory, Charles Hailey at Columbia University in New York and his colleagues were able to tease out signals that appear to come from 12 stellar - mass black holes, each with a star orbiting it (Nature, doi.org/cm3z).

Using archival data from the Sloan Digital Sky Survey, and the XMM - Newton and Chandra X-ray telescopes, a team of astronomers have discovered a gigantic black hole, which is probably destroying and devouring a massive star in its vicinity.

We have discovered a 420d modulation, with associated X-ray dips, in RXTE - ASM / MAXI / Swift - BAT archival light - curves of the short - period (3.2 h) black - hole X-ray transient, Swift J1753.5 - 0127.

Archival work, of course, isn't exactly what most scientists dream to be doing at NASA, so in 1999 Dr. Livio began shifting his research, focusing on black holes, acceleration of mass, white dwarves, neutron stars and particularly on supernova explosions.

Archival Hubble images, taken by the Near Infrared Camera and Multi-Object Spectrometer (NICMOS), support the idea of twin black holes pushing stars away.

Viewers who have been paying close attention (though why they would is a mystery) won't be terribly surprised by this development, since the Colleens earlier received an extended lecture from their history teacher (Vanessa Paradis) on the area's latent Nazi population — as illustrated through black - and - white mock - archival footage of the villainous Adrien Arcand (Haley Joel Osment) trying to start his own Third Reich by blaming unemployment on «the fault of the Canadian Jew» and proposing the launch of «Le Solution Finale.»

«Because of the way it was shot, on a black - and - white Kodak stock that doesn't even exist anymore, and the fact that the only archival print we have is so damaged it can't be replicated at this point, it's literally at risk of disappearing forever.

Near the beginning of the film, after a grim montage of old newsreels and photos of southern black labor and lynching of blacks, a color fade takes us from archival footage of blacks exiting a New Orleans train to a shot of Junior alone with his suitcase in front of the station.

The opening features a black & white collage of archival footage of arrests and intimidation of homosexuals and of police raids of gay bars during less enlightened times, followed by a brief clip of an ashen fellow Supervisor Diane Feinstein announcing the murders of Milk and Moscone.

Framing the unfinished work as a radical narration about race in America, Peck matches Baldwin's lyrical rhetoric with rich archival footage of the Civil Rights and Black Power movements, and connects these historical struggles for justice and equality to the present - day movements that have taken shape in response to the killings of young African - American men including Trayvon Martin, Tamir Rice, Mike Brown, and Amir Brooks.

Less sarcastically: The last film from archival - footage - shaper Göran Olsson, The Black Power Mixtape 1967 — 1975, was arresting — a real reclamation of history.

The 1.33 X 1 black & white image transfer can show the age of the materials used, but this looks good and comes from pretty good 35 mm archival stock.

Utilising archival images and interview footage of the author and the three social - change giants, as well as historic misrepresentations of the black man in white American culture, I Am Not Your Negro offers an arcing, aching narrative that spans the centuries of abuse and oppression suffered by the African American population.

He's constantly playing with cross-cutting, moments of silence on the soundtrack, blacked - out picture, unsynchronized sound, and documentarians» tools like archival pictures and footage.

Featuring archival footage of Chief Justice Earl Warren, Associate Justices Douglas, Brennan, Black, Fortas, Harlan, Clark, White and Stewart, and of plaintiffs Mildred and Richard Loving.

Through the voice - over of Samuel L. Jackson, Peck brings to life Baldwin's written words while weaving in a variety of archival clips of Baldwin himself, unpacking the history of United States» ill treatment of blacks.

Her dissertation uses a wide range of archival evidence to examine how black leaders and their allies won and maintained support for public black colleges in the post-Civil War South.

Archival Footage «Africa: Search for Common Ground» courtesy of Common Ground Productions ARD — Westdeutscher Rundfunk, Nairobi The Black Man's Land Trilogy: «White Man's Country,» «Mau Mau,» «Kenyatta» Courtesy of Anthony Howarth and David Koff ITN Archive / Reuters Kenya Broadcasting Corporation, Nairobi Kenya Times News, Nairobi «The Naked Earth» Produced by Sharad Shankardass Nation Media Group Limited, Nairobi Ngorongo Makanga UCLA Film & Television Archive WGBH Media Library and Archives The WPA Film Library

Kameelah Janan Rasheed shares materials from her personal archival collection of printed matter, including small press publications, magazine articles on independent black schools, textbooks and curriculum...

Bar None (Robert Smithson, New Jersey) 1967 Composite inkjet print on archival rag paper taken from original 126 format black & white negatives printed 2012 21 3/4 x 40 3/4 inches (55.2 x 103.5 cm) Framed: 24 x 46 x 1 1/2 inches (61 x 116.8 x 3.8 cm) Edition 1 of 5 plus 1 AP ARG # HN1967 - 002.1

Odyssey is accompanied by a full - color catalogue that features the sculptures made by Whitten over the past 50 years, as well as the Black Monolith series of paintings, and archival photographs.

Nasher Papers (Labeling Black), 2018 Cuts on self - adhesive archival paper on museum board 14.5 h x 11.5 w in framed (36.8 h x 29.2 w cm framed) with Optium Museum Acrylic

RUDDY ROYE, «Black Today (When Living is a Protest Series), Union Square, New York, NY,» May 1, 2015, printed 2016 (archival pigment print on metallic paper).

To more fully represent the working methods of photographers and news agencies, the RIC has in recent years acquired a number of large archival collections, including the Black Star collection of press photography, the Rudolph P. Bratty Family Collection of Canadian subject matter from the New York Times Photo Archive, and several individual artist archives.

Blending archival and scripted scenes, the film portrays black gay desire during the liberal explosion of the Harlem Renaissance in the 1920s.

Framed in a contemporary wood frame with hammered silver face and black sides using archival spacers behind conservation clear glass.

Included Middle (Christina Smile), 26.75» H x 40» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Black Grid w / Purple Insect Wings, 2015, etching, spitbite and archival inkjet with chine collé, unique 1/1, image 7 x 5 inches, paper 11 x 8 inches.

Included Middle (Suprematist Light), 26.75» H x 40» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Many of Arden's earliest works from the middle of the 1980s, some of which appeared in his first solo exhibitions at artist run centres like Western Front in Vancouver in 1986 and YYZ Artist's Outlet in Toronto in 1987, consist of found, black and white archival photographs of urban scenes in Vancouver.

Overture (1986), on the other hand, consists of ragged, jittery found 16 mm black - and - white archival footage shot between 1899 and 1901 of a train trip through the precipitous passes and tunnels of the Rocky Mountains.

Included Middle (Long Afternoon), 40» H x 26.75» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Included Middle (Sequoia Shadows) 26.75» H x 40» W Edition of 3 Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Included Middle (Bearing), 26.75» H x 40» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

Included Middle (Goat Milking Dark), 26.75» H x 40» W, Edition of 3, Archival Inkjet print on Baryta paper mounted on aluminum in a black lacquer frame

This beautiful painting comes in a black wood archival frame presentation.

This image of the work turned on its side, made from an archival slide, documents the drips of white paint that marked the work's surface until Rauschenberg covered it with a fresh coat of black paint.

The Black & White Best in Show winners are Lori Dunn for her scratchboard, «The Laws of Attraction» and Harry Longstreet for his archival inkjet print, «Take A Bow, Any Bow.»

Across pieces by heavy hitters such as Ellen Gallagher, Glen Ligon, Kerry James Marshall, Lorna Simpson and Kara Walker, different aspects of the Civil Rights movement — boycotts, protests, revolutionary Black Power movements, antebellum history — were filtered through a collection of text - based works (Ligon and Adam Pendleton), portraiture (Marshall and Simpson) animation (Walker), sculpture and an archival collection of Black Panther newspapers (loaned by New York - based artist Rashid Johnson).

A mix of documentary and archival footage, talking - head interviews, poetry, and dance, the film is an elegiac and erotic portrait of «black men loving black men» in the face of racism, homophobia, and alienation.

A selection of archival materials, including photographs from Black Mountain College and letters exchanged amongst the artists, will also be on view.

Black and white print on archival backlit film, commissioned by Liverpool Biennial, Karachi Biennale and The Tetley, part of the New North and South, in collaboration with Hospitalfield and ROSL Arts.