Sentences with phrase «early black and white photographs»

In and Around the House features the artist's early black and white photographs...

David Goldblatt's early black and white photographs are divided horizontally or vertically.

A group of important early black and white photographs, to be shown in the two other galleries, give historical context to and chart the trajectory of Casebere's use of architecture to evoke dream - like memories of places that are familiar, but not specific.

Leiter's earliest black and white photographs show an extraordinary affinity for the medium.

Not exact matches

Two more storefront windows on either side of the door emanated a faint light and in this glow I could see a wooden ship and a black - and - white photograph of a sailor from an earlier generation resting on a ledge inside.

These black - and - white life - size photographs of naked women in their 90s posed against a pure white ground, as if they were already in another world, were shocking when they were first shown, about 12 years ago, when the artist was in his early 40s.

Early Works 1964 - 1984 features Polaroids and black - and - white photographs from Wim Wenders» archive, many of which have never been shown before.

Highlights from the exhibition include black - and - white photographs from the early 1970s taken on the streets of downtown L.A., color pictures made on Rodeo Drive in the mid-1980s, and selections from his critically acclaimed series Landscapes for the Homeless, completed in 1991.

In the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened — paradoxically reproducing photographic effects and revealing his painterly hand.

The mostly small - scale work, including many early black - and - white, hand - colored, and sepia - toned photographs, is culled primarily from the artist's family members» collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series.

Inspired by classic group portraits throughout art history, she has taken black - and - white film photographs of the artistic crowd inhabiting Bushwick today, which will be exhibited alongside her photos of early Bushwick and Panero's writings on the neighborhood.

Commemorating one of the earliest documented moments of cross-cultural exchange between Japan and the West, this exhibition will unveil a new series by revered photographer Hiroshi Sugimoto while also juxtaposing his monumental black - and - white photographs of early modern European art and architecture with traditional Japanese artworks.

The earlier pared down forms of works such as Arcade (1995) and Two Bunk Cell (1998) were photographed in muted, subtle tones, as Casebere made the transition from the black and white imagery of his early works to the vibrant color images with which he is now associated.

One of the first German painters to grapple with the country's National Socialist history, Richter's inspirations include black and white photographs taken during the 1960s and early 1970s, private snapshots of his family — many of whom were members of the Nazi party — images appropriated from newspapers and books, and aerial views of towns, mountains, and seascapes.

One of the first German painters to grapple with the country's National Socialist history, Richter's inspirations include black and white photographs taken during the 1960s and early 1970s, private snapshots of his family — many of whom were members of the Nazi party — images appropriated from newspapers and books, and aerial...

Spanning four decades, from the early 1960s to the present, the broad, fascinating spectrum of these colorless paintings ranges from representational works based on black - and - white photographs, to entirely abstract paintings.

Featured throughout the exhibition is a black and white photograph Meckseper took of the Niedersachsenstein monument built by the Expressionist artist Bernhard Hoetger in her hometown, the early 20th century artist colony, Worpswede.

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.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human black - and - white photographs of inanimate objects animated with human white photographs of inanimate objects animated with human legs.

Bringing together these early photographs in one space, the exhibition will highlight Parr's transition from shooting in black and white in rural Northern England to his seminal color series The Last Resort from the mid-1980s.

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.

From early black - and - white photographs in which she poses as a Hitchcock heroine in unresolved scenes from films we almost recognise, to later works that more violently transfigure her features with monster makeup, Sherman evokes the tales that shape who people become.

In a static, silent, black - and - white style, with neither narration nor action, these filmed faces evoke photographs, and their tight, close - up composition and formal pose derive from early photo booth portraits made by Warhol in 1963, which are also on view.

In the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened - paradoxically reproducing photographic effects and revealing his painterly hand.

It will be presented by 25 high - contrast black and white photographs, which are from editorial images of the 90's for VOGUE, HARPER»S BAZAAR, INTERVIEW and many other international magazines, to his personal work inspired by modern dance, landscapes, early German and East European cinema and photography.

This includes the Elbe linocuts from 1957; several rarely reproduced or exhibited black - and - white landscapes, including «Alps II»; a magnificent triptych of Cloud paintings from the early 1970s; the monumental, 65 ft. long abstract «Stroke (on Red),» and many of his overpainted photographs.

Alongside his celebrated abstractions, early black - and - white paintings and the photorealist depictions of candles, skulls and clouds that have become indisputable icons of modern painting, Panorama includes nearly 30 new paintings made over the past ten years, extensive comparative works, studio photographs, archival images and a substantial interview with the artist conducted by Nicholas Serota.

The striking early - and mid-twentieth-century black and white photographs by noted photographers are interspersed among polemical quotes from Weil.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Pphotographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

ARTIST ROOMS comprises over 70 black - and - white photographs from across Arbus's career, including both her earliest work in 35 mm and her characteristic square - format images, and ranging from her best - known portraits to rarely - seen images.

Her drawings are influenced by the small sixteenth century panel paintings of the Low Countries, while their lush black - and - white tonalities evoke early found photographs on which they are often based.

Chuck Close Photographs, on view from March 20 through October 2, 2016 features 86 images from 1964 to the present and illustrates the full range of the artist's exploration of photography — from early black and white maquettes, to monumental composite Polaroids, to intimately scaled daguerreotypes and recent Polaroid nudes.

The exhibition will also include a group of black - and - white photographs by William Wegman from the early 1970s.

Howard Greenberg Gallery is pleased to announce the exhibition Saul Leiter Early Color, featuring Leiter's photographs from 1948 to 1960 in the Main Gallery and a selection of his early work in black and white in the South GalEarly Color, featuring Leiter's photographs from 1948 to 1960 in the Main Gallery and a selection of his early work in black and white in the South Galearly work in black and white in the South Gallery.

First came Ms. in January, then Esquire in May, then Newsweek and The New Republic earlier this month — all done in the artist's signature style, featuring provocative slogans etched in bold white letters on red banners, plastered over ambiguous black - and - white photographs.

«The Following Information» offers black - and - white photographs from two of the artist's earliest series, Blackboards and Card Catalogue (both from the 1990s) alongside recent color photographs of skies and landscapes, appropriated from paperback books.

Beginning in early 2008, Monk found inspiration within Ed Ruscha's 1967 iconic photographic series and limited edition book, Twentysix Gasoline Stations, where Ruscha shot black & white photographs of twenty - six different gas stations found along the legendary Route 66 highway on a road trip from his studio in Los Angeles to his home state of Oklahoma.

‖ Photographed at The Factory (Warhol's studio in New York City from 1962 to 1968) on 16 mm black - and - white film stock at the standard sound speed of 24 frames per second (fps), the portraits were intended to be projected at 16 fps, the speed of earlier silent films.

An early example is President Elect (1961, Pompidou Centre, Paris), in which the tanned face of John F. Kennedy is combined with unrelated images as if the whole thing was a black - and - white photograph.

Some of her early photographs draw influence from Magnum, creating striking black - and - white tableaux composed along sharp diagonals.

The exhibition traces the artist's evolution over a five - decade - period and brings together more than 200 photographs, including his iconic images of familiar, everyday subjects in addition to lesser - known, early black - and - white prints and provocative video recordings.

The collection of early black - and - white photographs fit in perfectly with the owner's choice of a cool, monochrome scheme.

The collection of early black - and - white photographs is a perfect fit with this monochrome bedroom scheme.