Sentences with phrase «back images of arts»

The idea of putting felt rugs, table runners and wallcoverings around your home might bring back images of arts and crafts projects from elementary school.

Not exact matches

Also new on DVD: M. Night Shyamalan's The Last Airbender (Paramount), an adaptation of the animated TV series and one of the most critically reviled films of the year, the feature film version of Beverly Cleary's Ramona And Beezus (Fox), Cats & Dogs: The Revenge of Kitty Galore (Warner), Marina de Van's Don't Look Back (IFC) with Sophie Marceau and Monica Bellucci, The Lightkeepers (Image) with Richard Dreyfuss and Blythe Danner, Lau Kar - Leung's classic martial arts movie Shaolin Mantis (Vivendi) and the newly remastered The Endless Summer: Director's Special Edition (Monterey).

Like most of the festival's recent key art images it harkens back to a classic moment or, in this case, film.

The first time the movie cuts back to Callum in what amounts to a green - screen room, ghosted images of the flashbacks swooshing around him as he embodies his ancestor martial arts moves, it's a neat effect.

There is also an series of images of promotional art backed from the film's music.

Just a day after supposed concept art leaked for Marvel vs. Capcom: Infinite «s first pack of DLC characters, the developer has released a new trailer that partially backs up the images.

Includes: Front cover, spine, and back cover design Ebook cover Four to six custom designs to choose from Up to ten quality, high resolution, fully licensed, royalty free stock art images * Typography with quality, commercially licensed fonts ** Up to ten rounds of revisions One Facebook cover image One 728x90 banner ad 3D book image Audiobook design

The company wants to go beyond text and simple images and hearken back to an era where Vogue or Wired Ads are a work of art.

Our panel of self - publishing experts will discuss the process of self - publishing your book, including how to know if / when your manuscript is ready, front and back matter, cover art / fonts / copyrighted images, determining keywords and placement for your genre, what self - publishing platforms are available, potential costs and revenue, being a «publisher,» where to look for help, various types of marketing, budgeting, timelines pre-and-post release, and much, much more.

Artwork is accurately sized in the sense of not having images that are too small, big, narrow or wide that is very important for a book of art, while it is accompanied by precise positioning and spacing in accordance to create a wonderful presentation of everything Destiny from the front to back cover and everything in between.

You also may be interested in checking out an image I added to the «Concept Art» gallery last week, which is very likely to be the art behind whatever's on the back of the bArt» gallery last week, which is very likely to be the art behind whatever's on the back of the bart behind whatever's on the back of the box.

LAPD's Johnson suggests how best to document art for online databases: Provide high - resolution photos of the front and back of the artwork and images of any paperwork on provenance.

Image Courtesy of Mommamia A while back, Cory wrote a massive, awesome article called How to Sell Art Online, chock - full of great tips on how to get yourself organized to move forward as a creative entrepreneur.

Now I look back on my years as an artist with interest, looking at all the different directions and types of art I have done (photography, painting, sculpture, prints, and now iPhone images, etc.) and try to make sense of it, get clarity on the path I have traversed.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Back in December, I wrote an article in which I suggested that, after a number of years in which abstraction has been the dominant mode of painting in the «contemporary art world,» we might start to see an upswing in image - based painting.

Don't Look Back, Contemporary Fine Arts, Berlin Nomadic Images, 16th International Vilnius Painting Triennial, organized by the Lithuanian Artists» Association, Museum of Applied Art and Design in Vilnius, Lithuania «Various are the lines of life...», Galerie Bernard Ceysson, Windhof, Luxemborg The Present Order, Galerie für Zeitgenössische Kunst Leipzig, Germany Sammlung Viehof: Internationale Kunst der Gegenwart, Deichtorhallen Hamburg, Germany Landscapes after Ruskin: Redefining the Sublime, curated by Joel Sternfeld, The Hall Art Foundation, Reading, VT [cat.]

Back in New York in the 1980s, Lemieux first became associated with the generation of artists connected with photographically scavenged images and clean - cut geometric art.

These images give further color to Tseng's practice and the larger context of the art world back then.

Dominic Eichler Looking back over the last 20 years of your art - making, it is striking how you have circled and constantly returned to a diverse range of genres, modes of reproduction and printing techniques while exploring both figurative and abstract images, and that all of these approaches still find their place in your recent exhibitions and publications, such as Manual (2007).

In the fifth floor gallery, curator Saul Ostrow presents Here's Looking Back at You: Images of Woman from the ESKFF Collection, a selection of works from the Eileen S. Kaminsky Family Foundation (ESKFF) that examine the boundaries of understanding female representation in art.

Basically, my thoughts after reading recent comments are - if the images genuinely do «represent major proponents of the genre» (and I'm happy to defer to your superior knowledge here - my knowledge of the history of art extends to winning pub quizzes and backing up my arguments in General Studies lessons) then why are the subgenres not discussed in the prose of the article?

Oct 29, 2015 — Jan 10, 2016 Big Red & Shiny: Lorraine O'Grady - Where Margins Become Centers Harvard Magazine: The Art of Juxtapositions Harvard Gazette: At 81, her first solo show at home Boston Globe: Body images on display at Harvard Hyperallergic: A Walk Through the World of Lorraine O'Grady Boston Globe: Looking back over a year in Boston's galleries The Brooklyn Rail: In Conversation: Lorraine O'Grady with Jarrett Earnest Art in America: Lorraine O'Grady

Addressing the declining art of commercial sign painting in a digital and hyper - capitalist age, these works explore the culture of image making and are intended to redistribute value back to traditional image makers.

Hatoum recalls that she first viewed images of Western art in the back of her dictionary as a child.

Return back to the past when German painters re-shaped the face of art recording the devastation of the war offering in return some of the most revolutionary images

Scorpio's Garden, Temporäre Kunsthalle Berlin, Germany Plan B — Contemporary Greek artists from the Beltsios» Collection, DYNAMO project space, Thessaloniki, Greece Souterrain, Sammlung Hoffmann, Berlin, Germany 6th DESTE Prize, DESTE Foundation, at the Museum of Cycladic Art Athens, Greece Ataxies — Contemporary Greek artists from the Beltsio's Collection, Margari Foundation / Beltsios Collection, Amfilohia, Greece Contour 2009: The 4th Biennial of the Moving Image, Mechelen, Brussels, Belgium I was lookin «back to see if you were lookin «back at me to see me lookin «back at you, REMAPkm 2, Loraini Alimantiri Gazonrouge, Athens, Greece

Her hyper - realistic images fascinate and show how all the elements of art we discussed in the introduction of this text depending on the preference and the character of the authors can range from childlike illustrations, sketches, paintings, to the hyper - reality that stares back in the face.

State University, Atlanta GA Juror Choice Award, Ninth Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ 2004 Self - Inflicted, Fe Gallery, Pittsburgh PA Flow, Sun Trust Plaza Gallery, Atlanta GA Rampant, Fe Gallery, Pittsburgh PA Painted Realities, Lamar Dodd Art Center, LaGrange GA 2003 Film / Video GA, MOCA GA, Atlanta GA Animation Impulse: Video Art and the Generated Image, Cheekwood Museum of Art, Nashville, TN Animation Extravaganza, 27th Annual Atlanta Film Festival, Atlanta, GA Juror Choice Award, Seventh Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ Looks Good on Paper, Second Edition, Spruill Gallery, Atlanta, GA 2002 Georgia Triennial, City Gallery East, Atlanta, GA Georgia Triennial, Museum of Arts and Sciences, Macon, GA 2002 Georgia Triennial, Telfair Museum of Art, Savannah, GA Georgia Triennial, Albany Museum of Art, Albany GA Wild Life: The Other Tradition, Polk Museum of Art, Lakeland FL 2001 Art and Science International Exhibition, National Gallery of Art, Beijing, China Hardware, Eyedrum, Atlanta, GA 2000 Do It, Atlanta College of Art Gallery, Atlanta, GA Cute, Georgia Museum of Art, University of Georgia, Athens, GA 1998 Boy Toys, Nexus Contemporary Art Center, Atlanta, GA Scale, Relatively Speaking, Art in General, New York, NY 1997 My Big Back Yard, Art in General, New York, NY

Pushing back against the anachronistic images that haunt Africa in popular culture and parlance, they managed to create a space that facilitated dozens of individual, specific, complex histories, even within the larger cadre of a glitzy art fair.

Going beyond the retrospective character of a selective look back, tendencies should be shown, with a focus on the contemporary tendencies of the last 20 years, that demonstrate the broad spectrum of the medium and more specifically illuminate a period in which the significance of the moving image has continuously increased, not only in the exhibition segment, but on the art market as a whole.

Some years later, now an art student, whilst flicking through a certain New York based art magazine, I came across images of the paintings of German artist Albert Oehlen, and suddenly all these dreams came back.

The phrase, found in a book of nineteenth - century penmanship exercises and recently tattooed across the artist's back, signals a commitment to text and image, as well as the visual influence of vernacular tattoo art.

Press The British Journal of Photography, UK, 2018 It's Nice That, UK, 2018 FOAM Magazine, # 49, Back to the Future, 2018 Image Culture Podcast by William Jess Laird, 2018 London Financial Times, How to Spend It, UK, 2017 Creative Review, UK, 2017 Vogue, UK, 2017 Kiekie, Amsterdam, 2017 Humble Art's Foundation, 2017 Monocle Radio, Podcast on Photo London by Kathlene Fox - Davies, 2017 La Gazette Drouot, Paris, 2017 Aesthetica Magazine, London, 2017 L'Express Styles, Paris, 2017 Wall Street International Magazine, Paris, 2017 Art Viewer, Budapest, 2017 Paper Visual Art, Ireland, 2016 Refinery29, 2016 Liberation Daily, Paris, 2016 Art21, 2016 Cool Hunting, 2016 Maake Magazine, 2016 Charlotte Magazine, 2015 Charlotte Viewpoint, 2015 The New Yorker, 2015 Beautiful Decay, 2015 Collector Daily, 2015 NY Photo Review, 2013 New York Magazine, The Look Book, 2013 Art Slant, 2012 New York Times, 2012 Die Zeit, 2012 Wall Street Journal, 2012 Capricious Photo, 2012 Hyperallergic, Brooklyn, 2012 LVL3 Artist of the week, 2011 A + D Catalogue, 2011 New City Break Out Artist, 2009

As a fusion of Tanaami and Payne's respective artistic sensibilities, this showcase is continuing on the work that was introduced back in 2011, when the British artist applied bullet hell stickers (inspired by the Japanese video game DonPachi), onto a series of Greek sculpture images featured in an old art book.

Role Reversal, an exhibition currently on view at the Colorado Photographic Arts Center (CPAC) presents the work of three women photographers whose images push back against long - held perceptions of beauty and gender roles in visual culture.

The vastly enlarged grainy image is of the artist standing with her back to the viewer on a stone mile marker, bullhorn at her side, facing a Casper David Fredrich like mountain - scape, possibly ready to read it the riot act, whimsicaly looking at arts attempt to communicate.

Over the past few months, I have thought back to my viewing experience of this supposed cross-section or pulse - taking of contemporary American art, and can not seem to shake the thought that it was an exhibition dominated and shaped by images — images that were overtly political, often beautiful, and sometimes even made me reconsider the definition, purpose, and lasting power of «image.»

The genesis for the Flowers dates back to the summer of 1964, when Warhol had firmly secured his position as one of the leaders of the Pop art movement with his radical silkscreened images of consumer objects, disaster scenes and celebrity icons in the early 1960s.

In this highly original meditation on the past, renowned art historian Alexander Nemerov delves into what it means to recall a significant event — Pearl Harbor — and how descriptions of images can summon it back to life.

For her early series of silk screens titled The Pleasure Is Back (1982), Bender reproduced on tin images from the work of successful male artists such as Sandro Chia, Roy Lichtenstein, and A. R. Penck, reducing them to their most iconic forms to generate art «logos.»