Sentences with phrase «camera at a painting»

You could point your camera at a painting and have details about the artist appear nearby, or see how furniture would look in your office before buying and moving it.

Not exact matches

I stood around waiting for the rocket to burst down the street while half - crazed, half - drunk, bemused Spaniards stretched their limbs, hyperventilating Americans with Go - Pros pressed record, Brits with St. George flags painted on their faces waved at the television cameras.

The on topic Q&A included redesign plans for other streets, especially Queens Boulevard, why the administration attributes the reduction in pedestrian fatalities to Vision Zero and not to regular year - to - year variances, how the administration actually knows that driving speeds are reduced, why so few street redesign projects have been done on Staten Island, data for any changes in safety at this E.Tremont / Silver Street intersection, why Commissioner Bratton did not attend, why there are few speeding and failure to yield tickets issued in this (45th) precinct, the negative effect of speed bumps on emergency response vehicles, plans for marking and painting of roads, whether the mayor will seek additional red light camera authorizations from the state legislature, the paucity of criminal prosecutions against drivers who kill pedestrians and an estimate of money received from speed camera tickets.

Point the phone's camera at a book, DVD, wine bottle, logo, painting, landmark or bit of text, and the hyper - intelligent app recognizes it and displays information about it from the Web.

And with Tom Hooper behind the camera shooting things in the most pedestrian way possible (a hallmark of his after films like The King's Speech and Les Miserables), only every now and then spicing things up with the way he frames Gerda painting from behind the canvas, there is not much to distract from the issues at the core of the film.

Judge: Award winning Children's author Peter Johnson Best artwork / painting / drawing Judge: Toby Ray — British Contemporary Artist & British Contemporary Visual Artist Yvonne Coomber Best wildlife / animal painting / drawing Judge: Svetlana Dragayeva, Film producer and creator of BAFTA winning independent children's app VIRRY Best wildlife / nature photograph (We want to encourage you to go on a nice walk together somewhere and snap away with a camera) Judge: Debbie Bird, Director at What's On 4 and board of the Children's Activities Association.

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Designed for the U.S. road structure, the system uses a monocular camera mounted on the upper portion of the windshield to identify painted lanes, Botts» Dots and Cats eye markers at speeds between 45 mph and 90 mph.

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Mark Rothko's Harvard Murals Harvard Art Museums, Cambridge, MA Through July 26 On display at the new Harvard Art Museums, this exhibit features a camera projector system that helps restore the appearance of Rothko's murals to how they looked when originally painted.

On view at the Phillips Collection through May 2012 and organized by Easton as guest curator with the Van Gogh Museum's Edwin Becker, the Indianapolis Museum's Ellen W. Lee and Eliza Rathbone of the Phillips, «Snapshot» presents 70 paintings, prints and drawings by seven Post-Impressionists who were part of the Parisian avant - garde Nabis group — including Pierre Bonnard, Maurice Denis, Felix Vallotton and Vuillard, as well as the lesser - known artists George Hendrik Breitner, Henri Evenepoel and Henri Riviere — alongside over 200 of their photos, all taken on Kodak's first handheld camera, which was invented in 1888.

What's going to do that is an exhibition opening in June at the Bowdoin College Museum of Art, Winslow Homer and the Camera: Photography and the Art of Painting.

BEST EXHIBITION SCHEDULE AT A MUSEUM IN UPHEAVAL The Met's, which included shows of camera - phone images exchanged by 12 pairs of artists; the nearly abstract etchings of the 17th - century Dutch artist Hercules Segers; Marsden Hartley's Maine paintings; an astounding survey of Japanese bamboo art and basketry (through Feb. 4); and, of course, the recently opened shows of David Hockney's paintings (through Feb. 25) and Michelangelo's drawings.

Carter's own show currently on view at Sauvage includes photography, painting, and drawing in unexpected combinations: Carter displays a sheet of geometric tattoo flash she's designed, and also includes her black - and - white self - portrait in which she turns away from the camera to display one of the tattoos on her shoulder.

Here's the James Kalm Report coverage of Jensen's exhibition at Cheim & Read, where, understandably, Jensen doesn't want to talk about the paintings on camera.

Your painting synchronizes the struggle of the camera to adjust the shape of the image as it focuses in on something, the eye's struggle to adjust to it at the same time, and the brush's attempt to capture this movement through the LCD haze... a painting about the hazards of drunk - texting perhaps?

Also included in «Big Spaces and Large Planes» are: the loosely graphic paintings of Cathy Fiorelli who shares studio space with eleven other artists at the Middletown Pendleton Art Center; the perceptive works on femininity of Pattie Byron from West Chester; the Kente Cloth - inspired art quilts by Miami University - educated Linda Kramer; the mixed media of Oxford's Maureen Nimis with her cut paper and photographic work; the small works by Catalog & Slavic Librarian at Miami University, Russian - born Masha Misco; and the jewel - like small photographs of Denver - born Cincinnati resident Brian Luman whose exploration of urban crevices is fueled by his skateboard and camera.

Shown only in black - and - white, the images paint a picture of the rich photographic community practicing together at the Lexington Camera Club between 1954 and 1974.

For Aaron Siskind, who was closely aligned with the Abstract Expressionist School of painting, used his camera as a «paintbrush» and his skill as a master photographer forever changed how we look at everyday objects.

For Frieze magazine, Morton reviewed Story's 2011 show, «Angeles», at Carl Freedman Gallery where she explored the world of early cinema with paintings of cameras in a subdued colour palette of off - whites and terracotta.

At times the camera is still; at others, it pans quickly over the landscape, creating the effect of Impressionist paint strokeAt times the camera is still; at others, it pans quickly over the landscape, creating the effect of Impressionist paint strokeat others, it pans quickly over the landscape, creating the effect of Impressionist paint strokes.

This summer the Bowdoin College Museum of Art (BCMA) will present Winslow Homer and the Camera: Photography and the Art of Painting, the first exhibition to look at the role of photography in Homer's artistic practice.

Wooden wallboards, water - based paint, three video cameras, scanner, frame, five monitors, video recorder, video player, videotape, black and white, silent, Dimensions variable (11 × 40 × 30 ft. as installed at Nicholas Wilder Gallery, Los Angeles, in 1970).

Working at the intersections of photography, painting and architecture, Rousse transforms raw space within abandoned or soon - to - be-demolished buildings into surprising visions of color and shape through the single - perspective of his camera lens.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Sherald's paintings engage the lives of her subjects through representational likeness but also through the use of props and costumes — a camera aimed at the viewer, for example, or a dress with a significant floral print.

The camera work is not great at the end of the painting.

During the early 1910s, as well as teaching himself photography on a five dollar Brownie camera, and undertaking photographic commissions for local architects, he also showed his paintings at important group shows, including the International Exhibition of Modern Art (Armory Show)(1913), the Forum Exhibition (1916), and the Society of Independent Artist's Exhibition (1917).

Developing Story through Drawing & Painting w Zeal Harris Camera Obscura Art Lab at 1450 Ocean 1450 Ocean Ave, Santa Monica, California 90401 Opening October 22nd 11 - 2 pm https://www.facebook.com/events/1567590413536623/

Developing Story through Drawing & Painting w Zeal Harris Camera Obscura Art Lab at 1450 Ocean 1450 Ocean Ave, Santa Monica, California 90401 Opening October 22nd 11 - 2 pm To November 23rd https://www.facebook.com/events/1567590413536623/

Key elements in the hall of mirrors include an interview with writer and filmmaker Dan Fox, art students sketching Francis Bacon paintings installed at the Tate Britain and several on - camera appearances by the artist himself.

And a film or video camera's zooms and pans can change how we look at paintings, bringing details to life we might otherwise miss.

At 79, Richter puts body, mind and soul into the large abstract paintings he's creating for the camera.

Willem de Kooning, whose whiplash lines and sweeping gestures defined «action painting» in the popular imagination nearly as much as Jackson Pollock's drips, is said to have painted in a frenzy for a rolling camera, only to scrape it all out when the filming stopped because the reality of how he worked — painting a stroke, then staring at it for a few hours — seemed too dull to film.

Aaron Siskind, who was closely aligned with the Abstract Expressionist School of painting, used his camera as a «paintbrush» and his skill as a master photographer forever changed how we look at everyday objects.

At the beginning of the 1970s, the filmmaker and artist Margaret Raspé (* 1933) mounted a Super 8 camera to the visor of a hard hat, right in front her eyes, and recorded her own activities, such as dishwashing, painting and drawing.

No matter what the camera person at the store tells you, you want to make sure you get a linear polarising filter or it won't work properly and will leave large portions of your painting full of glare.

She has also been included in significant group exhibitions, such as «Geta Brătescu», Documenta 14, Anthens, Greece, and Kassel, Germany; «Construction to Transmission: Art in Eastern Europe and Latin America, 1960 — 1980» at the Museum of Modern Art, New York (2015); «Straight to Camera: Performance for Film» at Modern Art Oxford (2014); and «A Bigger Splash: Painting After Performance Art» at Tate, London (2012).

«Painting with Light: Art Photography from the Pre-Raphaelites to the Modern Age,» opening at Tate Britain later this year, aims to illustrate the ways in which painting and photography influenced each other in the 18th and 19th centuries, in the early days of the camera — a relationship, says co-curator Carol Jacobi, that has been established in the U.S. and France, but less so in Painting with Light: Art Photography from the Pre-Raphaelites to the Modern Age,» opening at Tate Britain later this year, aims to illustrate the ways in which painting and photography influenced each other in the 18th and 19th centuries, in the early days of the camera — a relationship, says co-curator Carol Jacobi, that has been established in the U.S. and France, but less so in painting and photography influenced each other in the 18th and 19th centuries, in the early days of the camera — a relationship, says co-curator Carol Jacobi, that has been established in the U.S. and France, but less so in the U.K.