Sentences with phrase «black and white photographs at»

Among the other winners: Alex Bradley Cohen's charming figurative paintings at Nicelle Beauchene (1.00), Marley Freeman's luminous small abstractions at Parker (2.02), Farah Al Qasimi's complex and beguiling photographs of life in the United Arab Emirates at Helena Anrather (4.02), Jenna Westra's cerebrally suggestive black and white photographs at Hassla (4.16), and Graham Anderson's sepia - toned retro - futurist figurative painting at Klaus von Nichtssagend (2.05).

Broadbent's solo exhibitions include Robin Broadbent: Black and White photographs at Smith's Galleries, London and Metal Flesh: photographs by Robin Broadbent at The Studio Gallery, London.

Not exact matches

Although it wasn't the type of camera you'd take to document a family vacation — at eight pounds, the camera took 0.01 megapixel black and white photographs that were recorded onto a cassette tape.

Those who thought that the dress, worn by the mother of a bride at a wedding in Scotland, was photographed in a shadow likely saw the garment as gold and white; by contrast, those who thought it was illuminated by artificial light were more likely to see it as black and blue.

Totally fresh and elegant look with a fusion of glam and ultra-modern vibe, the supermodel was photographed at the airport in New York wearing crop top with a pair of patterned suit blazer and skirt with floral print and then on gingham printed mini dress with sensual v - neck all enlivened by a perfect combination between black and white.

Photographed by Miguel Reveriego at the Catalina Beach Club in Atlantic Beach, New York, Margot steps into a mixture of nautical - inspired black, white, navy and red outfits styled by Jessica Diehl, truly getting into her 50s character.

Make america love again,» the ad blared through my news feed over black - and - white photographs of pre-pill couples courting at the sock hop.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

«Black or White» star Kevin Costner, Mike Binder, Paula Newsome and Judge Michelle Court were photographed by Corina Marie Howell at TheWrap's awards season screening on Dec. 8, 2014.

I read the jacket copy, stared at the author's black and white photograph.

Adorning the wall of THE BAR at The Athenaeum is a black and white photograph of two glamorous ladies.

Joan Semmel looks like two different artists in the group show («Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver: Black and White Photographs 1975 — 77») curated by Robert Gober at Matthew Marks and in her jewel of a solo («Joan Semmel: Self - Images») at Mitchell Algus.

These cropped black - and - white photographs, anchored with obliquely disturbing text, often hint at discrimination and violence.

The exhibition at ROKEBY consists of a selection of black and white photographs, and colour slides, taken by Adler of Basquiat the apartment and the work he produced there.

In an intriguing turn, The Heart Is Not a Metaphor also notes Gober's significant curatorial work since the 80s; the exhibition brings together works originally shown at the Matthew Marks Gallery, New York, in the 1999 exhibition Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver: Black and White Photographs 1975 - 77, which Gober curated.

On each visit, Albers took hundreds of black - and - white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various sizes onto paperboard sheets.

As one of the three artists who comprised Renaud's first exhibition in 2002, Deschenes has presented significant and distinct bodies of new work with each incarnation: Blue Screen Process (2002), Black and White (2003), and for this exhibition, a new body of works that stem from the photographs recently exhibited in Bracket (London) at Campoli Presti.

Detail view of installation at Galerie Lelong, New York, 2015 Installation with LED lights, aluminum, video projection and six lightboxes with black and white transparencies Variable dimensions Original photograph by Koen Wessing (1942 - 2011): Estelí, Nicaragua, September 1978 The collection and copyright of Koen Wessing is administered by the Nederlands Fotomuseum, Rotterdam

A new book, One Black & White And Nineteen Colour Photographs By Miles Aldridge, has been published by Reflex Editions Amsterdam and has been launched at the opening on March 8And Nineteen Colour Photographs By Miles Aldridge, has been published by Reflex Editions Amsterdam and has been launched at the opening on March 8and has been launched at the opening on March 8th.

Important selected work from the past three decades will be shown alongside her latest two series — Other Voices, Other Cities, an international series of projects documented in photographs, and The Diaries of Lady Anne B. Also on view will be Last Supper at Manley Villa, a portfolio of black and white photographs taken in the home of one family in the final days of District Six in 1981.

Judith Linhares» oil paintings of dreamy female nudes are also intensely colored, but they relate in an unexpected and intimate way to a pair of black and white photographs by Rory Mulligan showing a torso of a woman and the back of a man gazing at a night sky.

Presented publicly for the first time in an accompanying special exhibition at the Deutsche Guggenheim in Berlin, this new work is shown alongside earlier pieces — both black - and - white photographs as well as transparencies mounted in light boxes — to create an ensemble that resonates formally and thematically.

Thus Don McCullin, quoted on the information board of a new display at Tate Britain of around 50 black - and - white silver gelatin photographs, chosen and printed by the artist himself.

This new volume is a smaller - format reprint that includes all material from the original book — exceptional color and black - and - white drawings and model photographs — and the original introduction by Ulrich Franzen, along with two new texts, a reintroduction by architectural historian and educator Alberto Pérez - Gómez, and an essay by Kim Shkapich, director of the Architecture Archive at The Cooper Union.

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.

Gedney's photographs, all black and white, and all shot at night, were made on cross-country trips between 1965 and 1975.

This digital C - print, based on an image from the Robert Langmuir African American Photograph Collection at Emory University, presents artist Sanford Biggers as a remixed minstrel in a top hat and tails, his face and clothing bisected into two halves — one white and one black.

Video, so recently dominant, was represented by only a handful of works — even Catherine Opie was exemplified by a still photograph — though one of my top ten picks was a 20 - minute black and white poem - in - motion at Marianne Boesky that assembled landscapes from edibles.

In «Partners», her exhibition at Munich's Haus der Kunst in 2003, her «Teddy Bear Project» comprised thousands of old, anonymous black and white photographs of teddies, often accompanying and comforting their owners — young or otherwise.

His intention is to subvert the supposed objectivity of photography by deceiving the viewer: at first, these pictures appear to be like the black - and - white photographs usually found in National Geographic, until closer inspection reveals detailed brushstrokes.

Her series of black and white photographs from 1990 to 1992, in which she colluded with a doctor at the local hospital to use an X-ray machine to «photograph» her skeletal portrait, are eerie but engaging.

The installation at the gallery consists of re-photographed black and white photographs of members of the Situationist International (SI) group in the 1960s and texts.

In 1951, a year after 18 irascible New York artists posed for a now - infamous black and white photograph, Jean Dubuffet delivered a lecture entitled «Anticultural Positions» to a rapt audience at the Arts Club of Chicago.

Photo: Kyle Boyd»15 (left) with her parents at her Student Picks exhibition BREAKING WAVES: Exploring Water in Black - and - White Photographs.

Other Primary Structures, however, is less concerned with the actual objects included than with the original exhibition, imposing an unfortunate stranglehold on the present; at every turn we are confronted with huge, black - and - white blowup photographs of the 1966 exhibition.

Three black and white photographs, float on the surface, a brief case and a full garbage bag is at the bottom of the pool.

Edward Steichen included twenty - three of Leiter's black and white photographs in the seminal 1953 exhibition «Always the Young Stranger» at the Museum of Modern Art; he also included twenty of Leiter's color images in the 1957 MoMA conference «Experimental Photography in Color.»

Dinh Q. Lê's exhibition at Shoshana Wayne Gallery, Los Angeles, also presents a continuation of Dinh Q. Lê's photo - weavings in which black and white photographs taken during the Vietnam War are woven together with richly colored images from present day.

In the piece, now preserved in a simple black - and - white video format of the artist sitting at a desk, Wilson begins with the premise «Art making sucks identity from individuals who are close to it but not participating themselves and the only way to recover identity is to make art yourself» proceeding to ingest a photograph she took of her partner, a male artist, in attempt to recover her own identity becoming his equal in power and, in doing so, creating her own art.

One of the highlights of Frieze week in London 2013 will be the return of the Brazilian artist Mauro Restiffe with his new body of work, Oscar, a series of black and white photographs made on the occasion of Oscar Niemeyer's death in December, 2012, at the age of 104.

Sculpture Project Echo (2009), Pousttchi's series of twentyfour colour photographs created in the six months during which Echo was on view, is a much - layered portrayal of this black - and - white photo installation's powerful persistence among the iconic buildings that surrounded it, including the Berliner Dom (Berlin Cathedral), the Alte Nationalgalerie (Old National Gallery), the GDR - built Fernsehturm (Television Tower, which, at 368 metres, is still the tallest structure in Germany), and the uncovered foundations of the original Berlin City Palace.

Edward Steichen included Leiter's black - and - white photographs in the exhibition Always the Young Strangers at the Museum of Modern Art in 1953.

The Real Estate Show, Installation view (At the center, drawings by Joseph Nechvatal; Photograph to the right by James Casabere; Large black and white mural by Mike Glear; small collages and cigarette packs on floor by Bobby G. — Robert Goldman), 125 Delancey Street, New York, January 1980, Courtesy of Becky Howland.

Photographs of the exhibition «American Prints in Black and White, 1900 - 1950: Selections from the Collection of Reba and Dave Williams,» January 31 - March 28, 1993, held at the Dallas Museum of Art.

Look closely at Jananne Al - Ani's untitled 1996 photograph of a woman transformed by the process of being unveiled, or at Ghada Amer's Eight Women in Black and White (2004), with its dense skein of stitches masking pornographic images of women, or at Mona Hatoum's Prayer Mat (1995), made of sharply pointed pins that render the mat threatening.

A black - and - white photograph of Ragnar Kjartansson between his parents, Kjartan Ragnarsson and Gudrún Ásmundsdóttir, at his confirmation party, April 1, 1990.

The work's bald expression of desire was echoed throughout the Biennial, no more so than in Jannis Birsner and Matt Lambert's VITIUM (2016), a collage of black - and - white photographs of men performing various eyebrow - raising sexual acts, and Ross Bleckner's Dick, a group of close - up color photographs of penises from the»80s,»90s, and 2000s, unframed and tacked to the wall (and, yes, I got cruised while looking at them).

Where Close makes paintings that are nearly all face, John Coplans, who died last August at 83, detailed his aging flesh in headless, black - and - white self - portrait photographs that also function as formal abstractions.

Considered to be one of the finest and biggest cities in the world, London has approximately eight million residents, but looking at this range of black and white photographs, you'd think otherwise.

Years passed before Baltrop's tightly composed black - and - white photographs, many printed at tiny dimensions, would receive their due, but after appearing in MoMA PS1's 2015 «Greater New York» show, they have been shown more often.