Sentences with phrase «early black and white photography»

The exhibition represents the first solo show of the artist's early black and white photography from the 1940s and 50s, and will focus on more than 40 images including many unique prints that have never before been exhibited.

Not exact matches

Visually, Chan Is Missing has the bustling casualness of Cassavetes or of the early French New Wave — its picture of Chinatown is virtually a mini «city symphony» movie in itself, whether Michael Chin's black - and - white photography is showing us passersby, details of shop signs, vast swathes of house fronts or vistas of Frisco hillsides (there's also a nice wink at Vertigo).

The way life is somehow breathed into this crumbly den, the way the evocative sound design pounds at the audience's ears and the way the stunning black and white photography always allows viewers to investigate the frame and find tiny nuances they hadn't seen earlier.

Jochen Lempert (f. 1958, Germany) has a background in Biology but is since the early 90's active as an artist working with black and white photography as his primarily medium.

His use of color film in the early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

Unexpectedly, Mr. Moriyama revived the zine in 2006, and this striking book collates the early black - and - white images, shot with his trademark graininess, with new street photography from New York, Morocco and a Tokyo transformed.

Trained as a chemical engineer and a medical doctor, Porter began his career in photography in the early 1930s by making black - and - white prints in his spare time while working as a bacteriologist and teaching at Harvard University.

The stark palette of black, white, gray and muted earth tones suggests early photography and lends a timeless quality to the work, almost as if the images themselves are fragments from the past.

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 book, first published to mark the first major retrospective of Leiter's work in 2012, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.

In his early works, Ruff uses black - and - white photography to produce portraits of his friends and fellow students, who pose for him with emotionless faces.

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, Pphotography, 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, PPhotography, 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, PPhotography,» 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, PPhotography 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, PPhotography 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, PPhotography 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, PPhotography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

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.

His use of color film in the late 1970s and early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

Focusing on photos taken in buzzing cities, with their cosmopolitan cast of hipsters, businessmen, beauties and criminals, Street & Studio builds an engrossing urban history of photography, ranging from early black - and - white pictures from the late 1800s, to elegant fashion photography from the mid twentieth century, to cutting - edge portraiture by contemporary artists.

Yet the highlight of this impressive show, curated by LACMA's formidable Stephanie Barron and seen earlier this year at the Museo Correr in Venice, is the photography — from stern black - and - white portraits by August Sander to alienated, sometimes surreal compositions of workers and machines.

While the filter of time and familiarity, the abstraction of black - and - white photography, and the softer focus and smaller scale of earlier photographic processes have made these images less shocking, they remain commanding in terms of formal qualities and content.

The former, using a vibrant color palette and complex patterns, can be seen as an extension of his 1993 series, Early Product Paintings, while the latter evokes a contrast between painting and photography through singular subject, black - and - white paintings.

Also, if you look back at an earlier post on the Dining Room, it would also obstruct the view of the black and white photography, on the picture ledge, from the Kitchen.