Sentences with phrase «between seeing photographs»

Men's responses demonstrated a positive, significant statistical correlation between seeing photographs of attractive faces and endorsing war - supporting statements.

Not exact matches

He has specialised in photographing polar regions since 1995, and sees his role as «bridging a gap between scientific research and the public».

And, knowing that other scientists had recently shown that mice can tell the difference between paintings by Picasso and Renoir, he decided to see if rodents could also discriminate between photographs of their fellows» expressions.

Since computer screens have chromatic aberration, especially between CRT screen and LCD screen, we can not guarantee that the color of our products will be exactly same with the photographs you saw.

Between Japan and America, we feature 500 photographs never seen by anyone.

Look at historical photographs of most breeds and you will see marked differences between the greats of today and those of several decades or a century back.

Connor's peripatetic practice demonstrates a longstanding interest in the relationship between systems of belief and the natural world, and has seen her photographing wide - ranging subjects, from sacred sites and intricately jagged cliff faces, to antique plate - glass negatives from San Jose's Lick Observatory and petrified bodies from the eruption of Mt. Vesuvius in Pompeii.

Hershman Leeson created a fictional character named Roberta Breitmore between 1973 and 1978, who even had her own therapist; Mendieta photographed herself with male facial hair to challenge gender signifiers; Sherman's conceptual portraits have seen her disguise herself as fictionalized characters; and Wearing has manipulated her self image with masks.

Allowing the viewer to see the works through visual cues and historical connections, looking at the image within the photograph as well as relationships between photographs, this exhibition seeks to engender new «ways of looking.»

17 October: FUEL at Camilla Grimaldi — See a selection of photographs of Russian prisoners» tattoos collected by Arkady Bronnikov between the mid-1960s and mid-1980s.

Taken between 1983 and 1993, these photographs document a distinct New York era as seen through the eyes of Ai Weiwei, in those years a prominent member of a community of Chinese artists and intellectuals living in the East Village.

The included artists actively investigate, abstract, and fragment representations of place by intervening with information culled from photographs, video or sound recordings, effectively focusing the viewers» attention on the gap between what is seen and what is imagined.

In other words, the contrast between natural light and fabricated light, as well as the narrative differences between an abstract sculpture and a photograph of that sculpture, distance the space between seeing a work and deriving meaning from it.

A certain material vagueness in pigmented paper pulp thus seems ideal for Stockholder, who has always enjoyed the erasure of distinctions: between gross matter and art, composition and formlessness, narrative and abstraction, sculpture and painting... «Having arrived at the Mill with digital prints of objects she photographed in her years and studio (bright plastic bowls and containers, a drinking bottle, some gaudy cakes that had seen better times) along with real objects (fabric swatches, the floor mat) she proceeded to collage and emboss them in stretches of pigmented paper pulp, working in collaboration with Paul Wong.

His black and white photographs examine the natural tension between «seeing» and «believing».

A two - year stay in an isolated part of Alaska in the mid-nineties had a strong impact on her work, motivating her to explore the relationship between culture and nature, as can be seen in her photographs of decapitated game, skinned and disemboweled by the northern hunters.

Photographs of the artist's childhood home can be seen in fragments between gridlines, evoking the process of how memories are reconstructed and how multiple viewpoints can inform a singular experience.

But he was lured by his neighbor, fellow Bauhaus master and photography pioneer László Moholy - Nagy... Feininger... experimented with extreme cropping, in which the entire context in a photograph is jettisoned, creating a tension between representation and abstraction and conveying immediacy and spontaneity, as seen in this photo of a locomotive in a train yard covered in snow, which seems both looming and playful.»

Featuring new photography of the spectacular evening dresses James produced between 1947 and 1955, this publication includes details of these intricate creations alongside vintage photographs and rarely seen archival items, such as patterns, muslins, dress forms, and sketches.

Met Breuer has future programming to look forward to this summer and through the fall, including rarely seen early photographs by Diane Arbus, which were taken on the streets of New York City between 1956 - 62, which is an exhibit scheduled for July.

Many have been rarely seen, except perhaps in photographs, but in - person the dynamic between the canvas and the material, where one always seems ready to rip away from the other, is startling with its dextrous aggression.

Almost reaching the ceiling, the photographs above head were extremely difficult to see since there was only a narrow margin of space between the viewer and the wall, an arrangement that prevented the viewer from stepping back and seeing the wall in its entirety.

Tillmans has also photographed all he can see of himself, distorted to something between a botched Soutine and an agonised Freud, in the so - called mirrors used by the last offenders before the jail closed in 2013.

Produced on the occasion of Marshall's first exhibition at David Zwirner in London in 2014 and designed by JNL Design in Chicago, Look See features beautiful reproductions of every painting on view in the show as well as numerous details, preparatory drawings, installation photographs, new scholarship by Robert Storr and a conversation between the artist and Angela Choon, a Senior Partner at the gallery.

As I see it, the chief difference between my work and theirs is the content; while Warhol and Rauschenberg largely re-contextualized appropriated photographic imagery, I choose to utilize only original photographs which are relevant to my personal life experiences in some way.

«Bennett's photographs of the Wisconsin Dells parallel how Watkins and Muybridge's photographs of Yosemite spread awareness of that unique valley — and I'm excited for our visitors to see the connection between these regional and national histories.»

I wish everyone would see the beauty that I saw in Dumas's photographs — just visit the Julie Saul Gallery between now and March 9, 2013.

This exhibition focuses on Andy Warhol's exploration of the interconnections between private and public life as seen in a group of Polaroid and black and white photographs made by Warhol from 1970 to 1986.

Australian artist Justine Varga discusses selected works in the show in relation to her own practice, focusing on the idea of the final print — the photograph seen by a viewer — as the result of an interactive relationship between the architectures of photography.

Wherever Weston photographed — California, Hawaii, Mexico, or Europe — his way of seeing remained constant, and the resulting images hovered between abstraction and representation.

I hadn't seen any of the work in person yet; in fact, the show had not yet opened, but I saw a kinship between Rauschenberg's dissolution of the barriers between painting and sculpture and the way Butler's painting's looked in the photograph, stacked in front of one another, their painted canvas surfaces stapled almost willy - nilly to the front of the stretcher bars, which are visible along the edges of some of the works.

I really don't see a difference between using photographs and painting from life.

I reach this conclusion because a) the initial description provided was vague b) Mr. Crane was clear that while there were some similar features between the accused and the perpetrator, he was unable to state definitively that the accused was the person who robbed him c) Mr. Crane confirmed that this was all he meant when he testified at the preliminary inquiry d) five photographs later, Mr. Crane stated that the ninth photograph was the «closest» (having already seen Mr. V's photograph), and e) there was no other evidence to bolster the qualified identification into an actual identification.

The trick is to align the two photographs such that the animation flicks back and forth between them so rapidly that you lose a sense of motion and instead see three dimensions.