Sentences with phrase «for framing photographs»

Not exact matches

During a press conference later that evening, press secretary Sean Spicer delivered a statement criticizing the media for allegedly underestimating the size of the crowds for President Trump's inaugural ceremony — saying that «photographs of the inaugural proceedings were intentionally framed in a way, in one particular tweet, to minimize the enormous support that had gathered on the National Mall.»

Near the bar there's the large wicker basket overflowing with game balls; the Caddyshack poster signed by the film's stars is in the home theater (used exclusively, alas, for watching game video); and in the weight room, a wall is lined with framed photographs of the proprietor schmoozing with some of football's most recognizable faces.

The winning photograph will be enlarged and framed, with costs to be paid by the Arts Commission, and will be displayed for approximately one year and possibly longer in the Village Hall.

Well yes, I know all the obvious answers, but even if it didn't fit me any more, I'd still want to have it around, maybe as a cushion cover or even to frame a square of the material as a mount for a beautiful photograph.

«There's Always Vanilla Film Locations» (11 mins., 1080p) has «Romero historian» Lawrence DeVincentz talking over a slideshow of contemporary photographs of locations used for scenes in the film (some of them featuring him or his buddy Spooky Daz Sargeant in the frame matching the pose of the original actors) with authentic production stills occasionally appearing in an inset.

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.

Wandering the mountainous landscape, gorgeously photographed by veteran cinematographer Dean Cundey (Apollo 13, Who Framed Roger Rabbit, Jurassic Park), the psychically tortured protagonist has a series of run - ins with various figures, including a sympathetic Indian (Adam Beach), a Chinese immigrant (Tzi Ma), an old war buddy (Danny Glover) and, most memorably, a vicious killer named Ezra (Walton Goggins, stealing every scene as usual) who demands a «toll» from Jackson for encroaching on his territory.

In an early scene from Alfred Hitchcock's Rear Window, the panning camera reveals a framed photograph of a young, smiling blond woman — except, the image is on negative film, which serves as a presumable correlation for disabled protagonist Jeff's (Jimmy Stewart) outlook on women, which is tested in his gaze and projected desire from a lofty apartment window throughout the film.

Framed for television and photographed in faded panels of astonishing blahness, Knife Fight is a dull political dramedy that ping - pongs between caustic misanthropy and soapy sentiment.

It's hard to pick just one image from Andrew Dominik's masterpiece as it is one of the most beautifully photographed movies of the 21st century, the train station shadow / smoke scene is one other iconic moment that comes to mind, but for my money nothing beats this gorgeous frame in which Brad Pitt's Jesse James look over the sunset as he contemplates his next move.

Printable sheets which explain the 10 rules of compositing an amazing photograph - Includes visual and written explanation of each rule - rule of thirds, odd numbers, simplicity, background, framing, lead in line - Clear for students to understand - Can be used as a display within the classroom (sheet can simply be printed and put up) Show your students WHY a good photograph is good.

Exploring and discussing poetry Using words / phrases to describe the senses Individual, pair and group work Assessment opportunities Using photographs and images to stimulate discussion and description Using words and phrases to describe personal experiences Describing a special place using a writing frame How to plan a poem Writing a poem using the senses Writing assessment task Detailed teaching notes for lessons and assessment

Students have to look at photograph interpretation, use sources to make a decision, literacy skills, writing frame for an extended written task in addition to a recall and climate graph activity.

For example, you can find out how to photograph him and make a frame to go with it!

The plants are photographed as still lifes on brightly colored backgrounds and nicely framed for display, making any room feel more alive, no watering required.

Harwell won the title of 2014 Design Star for beautifully framing a military photograph along with a WWII medallion and engraved 21 - gun salute bullet casings.

In addition to the new pack, The Allotment developed a unique app called «Memory Maker», which would allow the adopted donkey to be placed in any family photograph, in any situation and then for this picture to be edited, placed in a frame and shared via social media.

David explains: «This project was special for me because I discovered the scene and vantage point while on my way to do another assignment, and once I began to photograph I was struck by the variety of oncoming visual stories that came into frame as people descended on the escalator down to a store below.»

Kertész had some photographs made specifically for the exhibition, but he also brought prints from home, and hung several dozens of them salon style, with a variety of mats, mounts and frames.

Also of interest are a series of photographs by Anne Sager, James Brooks's The Springs (lithograph, 1971), Marcia Gygli - King's Main Beach, East Hampton (oil on canvas, mixed media frame, 1988 - 91), and Terry Elkins's Montauk (collage and pencil, 1994 - 97), a work which is memorable both for his signature collage technique but also for the use of shadowing, which adds a significantly suggestive intimation to the image of the Montauk lighthouse.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

Shrine For Girls (Uttar Pradesh), 2015 Saris, framed photograph and wood crate 66 x 60 x 30 inches Photo by Doug Schwab

«Vertical Elevated Oblique» included C - stands used as workhorses for lighting, fabric, showcards and other apparatus in the film industry (Syms grew up in Los Angeles around this business and remains based in the city) strung with found photographs in which several hands were pictured forming the kind of gestures seen in her video, while items of the artist's clothing printed with phrases were also slung over these tubular frames, suggesting an absent body.

Graphic for: Silent Ping - Pong, 1972 Black and white photographs and ink on paperboard Paper Size: 20 x 30 inches 50.8 x 76.2 cm Framed Size: 21 x 31 x.75 inches 53.3 x 78.7 x 1.9 cm

Other contents include an essay by Karl Ove Knausgaard (presented as a removable book); 100 frames from Lotte Reininger's 1926 animation The Adventures of Prince Achmed introduced by John Canemaker; two film treatments by screenwriter Hampton Fancher (Blade Runner), based on Esopus subscribers» submissions; anonymous photographs from the collection of Peter Cohen; materials from MoMA's archives on events and installations in the Museum's garden over the past 60 years; a piece on the creative process behind the survivalist game The Long Dark; a new installment of a regular series, «Guarded Opinions,» for which guards from the Barnes Foundation discuss works they oversee; a comic book by George Cochrane; and a CD of new music inspired by «close calls» experienced by 15 musicians, including Jo Lawry, YC the Cynic and Lemolo.

More troubling is the dark red room recreating a 1983 show by Richard Prince, empty but for a single photograph in a tacky gilt frame.

The surface of the photograph itself is a persistent subject of interest for Tillmans, and his careful combination of small and large formats, and framed and unframed prints, serves to underscore the notion of the photographic image as an object — subjective and idiosyncratic.

For managing the loan and preparing the paintings, photographs, and printed material for display and photographic materials for this publication, we are grateful to the New York State Office of Parks, Recreation and Historic Preservation Peebles Island Resource Center staff: Acting Director for the Bureau of Historic Sites John Lovell; Director of the Division for Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce ZuckFor managing the loan and preparing the paintings, photographs, and printed material for display and photographic materials for this publication, we are grateful to the New York State Office of Parks, Recreation and Historic Preservation Peebles Island Resource Center staff: Acting Director for the Bureau of Historic Sites John Lovell; Director of the Division for Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce Zuckfor display and photographic materials for this publication, we are grateful to the New York State Office of Parks, Recreation and Historic Preservation Peebles Island Resource Center staff: Acting Director for the Bureau of Historic Sites John Lovell; Director of the Division for Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce Zuckfor this publication, we are grateful to the New York State Office of Parks, Recreation and Historic Preservation Peebles Island Resource Center staff: Acting Director for the Bureau of Historic Sites John Lovell; Director of the Division for Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce Zuckfor the Bureau of Historic Sites John Lovell; Director of the Division for Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce Zuckfor Historic Preservation Ruth Pierpont; Collections Manager Anne Ricard Cassidy and her staff Erin Czernecki, Ronna Dixson, and Mary Zaremski; Former Curator Robin Campbell, Curator Susan Walker, and Assistant Curator Amanda Massie; Paper Conservator Michele Phillips; Frames Conservator Eric Price; and Paintings Conservator Joyce Zucker.

For this new exhibition, Curtis presents six paintings in aluminium paint on raw canvas which refers 1:1 in scale and design to the subject of his photographs of garage doors which have been removed from their «frame».

The photographs featured show a frame for illustrative purposes only.

Lot 1, «Under the Eiffel Tower in Tokyo Lauwarm,» a steel, wood, styrofoam, glass object with 48 framed photographs by Martin Kippenberger (1953 - 1997), sold for $ 64,000, an auction record for a sculpture by this artist.

Of course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadia.

Mr. Lassry, who is perhaps best known for spare, deadpan and subtly surreal photographs that he encloses in colorful frames (though he has also branched out into films and sculptural works), was included in the 2010 «New Photography» at the Museum of Modern Art and the 2011 Venice Biennale.

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

On the ground right: Martin Kippenberger Richter - Modell (interconti), 1987 a 1972 Gerhard Richter painting, wood frame, metal legs From right to left: Lucio Fontana — Hisachika Takahashi Concetto spaziale, Attese, 1966 oil on canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronze

And while Warhol's free - wheeling framing of figures and street scenes is hardly a surprise — given his art's voracious appetite for images — the breadth of Burroughs photographs are something of a revelation, especially his collage pieces.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Determined to make a print as a further step towards a painting, Hamilton photographed, in collaboration with Tony Evans, a carefully - chosen grouping of studio equipment for fashion photography, to act as a frame for a head - and - shoulders image, and to emphasise the ritualistic character of the fashion photo - session.

The show begins with Jeff Wall's photograph of a climbing frame in a suburban park — easily mistakable for a piece of abstract, geometric public art — and continues with diverse works highlighting the varied meanings arising from such apparently basic forms.

In a near sculptural consideration of material, the wood portrayed in each image is reiterated in the frame itself — for example, where Poplar is represented in the photograph, the part of the frame surrounding it is made of Poplar.

The way she frames her subjects keep us coming back for more and quite frankly, she doesn't need to print the photographs larger than life to get her point across.

Its usual function thwarted, it serves as a pedestal or extended frame for a large black and white photograph of a 19th - century bronze of a black man's head.

Personally, I'll make a beeline for Thomas Dane Gallery to look at one of Michael Landy's beautiful watercolours and will then nervously go to Maureen Paley gallery to see my new photograph, framed for the first time.

We are looking for a range of Conservators, Technicians and Conservation Scientists to join our core teams in Conservation Science and Preventive Conservation; Paintings, Frames and Workshop; Paper and Photographs; Sculpture and Installation; and Time - based Media.

Louise Lawler, a member of the Pictures Generation movement of the 1970s and 80s, became well - known for her photographs framing other artists» artworks in the varied contexts in which they were installed and viewed.

Buswell - hand embellished the glossy emulsion layer of each photograph with an accumulation of scratches, then built and painted unusually shaped frames for them.

Image: Cindy Sherman, Untitled, 2010Courtesy the Artist and Sprüth Magers Berlin London For this show Sherman has assembled a cast of uniquely individual characters on large photographic murals, marking a departure within Cindy Sherman's artistic practice from the format of the framed photograph.

For instance, say that I am taking a photograph of a popular statue, and people happen to be in the frame?

Snapfish had been sending me «final days before Christmas, don't miss out» messages so I ordered some framed photographs of the kids for the relatives.

So, I finally sat down, planned out what size frames I wanted where, and placed a big fat order of black and white photographs for our master bedroom.