Sentences with phrase «fragmented images which»

Mickalene Thomas, meanwhile, engages with the history of modernism in her use of pattern, fabric, and fragmented images which reference Cubist imagery.

Mickalene Thomas, meanwhile, engages with the history of modernism in her use of pattern, fabric, and fragmented images which reference cubist imagery.

Not exact matches

We are broken and fragmented images — the material from which a mosaic can be formed.

These images are then compared, which helps to eliminate the background effect caused by the product itself and improves the detection of lower density foreign bodies such as fan bones in chicken, bone fragments in meat, or glass and stones in added value meat products.

To study the mechanism's fine surface details, they took multiple digital images each lit from a different direction, which allowed them to virtually rotate the object in the light [see interactive images here and a rotating view of the main fragment here].

While monitoring brightness in the individual 3 - minute exposures, scientists also compiled all the data to produce a single ultra-deep image, which revealed the fragments.

Getting his start working on TV commercials, Mann took his rapid - paced, flash - cut approach into documentary filmmaking, producing an award - winning short on the 1968 French student riots, Janpuri.Mann's fragmented - image technique further manifested itself on such TV detective series of the»70s such as Starsky and Hutch and Vegas, both of which utilized his scripts (though they were directed by others in the standard conventional style of the period).

Gorgeous fragments like «Feel of the air, thinner in the cool sections, fattening up in the light» and «Cicadas turning the air into clicks and a pulse» and «The light not a light of this world but more a temperature, a coldness through which we could see» give the reader a feast of images, sounds and feelings.

Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.

This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures of Otero's oeuvre to date, from his early still lifes and famous «skins» — paintings made of fragments and scraps of oil paint culled from previously painted images — to his more recent «transfers» and innovative sculptural work in porcelain and steel or iron.

The intricate work moves between writing, image, and pattern, and speaks to the fragmented way in which we acquire information and experience language in today's world.

Still, it was fun to look at them, to catch a glimpse of an image, maybe a fragment of landscape or part of a figure, and guess the artist; or to see the stretcher bars, some of them impressively professional, others clearly makeshift, and read the labels documenting the museums to which the pictures had traveled.

Whether distilled to a single dot or fragmented into a thousand pieces, Martin's art draws from the space in - between, an image of the world in which all activity, monumental or insignificant, may be just killing time.

Her collages are constructed using fragments from fashion and travel magazines, pornography, African art books, automotive schematics, and images drawn from science fiction as well as hand - drawn or painted elements which create a variety of new formations of the body.

Dynamic images fragment into mosaics of small abstract paintings, in which there is no longer a distinction between background and foreground.

«Untitled» (2015) by Borna Sammak — This sculptural installation incorporating digital video animation and consumer - grade hardware features a hypnotic loop of ballistic cartoon images, which are fragmented and collaged together.

Too poor to afford painting materials, Margo innovated with «decalomania,» a process in which he used automatism to select and assemble fragments of print and images from magazines.

One feels the presence of the boy collector in one untitled work in which detailed printed images of bugs are placed side by side, together with a few other found fragments and much empty space.

Means of producing and displaying images are central to his methodology and he unpacks the image as both subject and object, unfolding ways in which fragments of the present can connect with those of the past, the hidden with the visible, and the sentient with the physical.

The artist has now shifted his focus from photography to making large digital tableaux in which swirling brushstrokes mix with and partially obscure images of contorted, fragmented bodies.

However, the images are not figurative and each embody a sense of abstraction which blocks the viewer from gazing directly onto the horrific scenes, leaving only clues to piece together an otherwise fragmented narrative.

More provocative is the work which gives the show its title., and is comprised of 10 kilos of small cellophane drug baggies, each filled with tiny fragments of paint and found images.

The drawings, which combine fragments of text with images culled from American popular and underground culture, dominated the exhibition, due in part to the sheer number of them and in part to the appeal of familiar images drawn in a simple graphic style.

Other new auction records were Lot 28, «Blind Man's Bluff,» a sensual sculpture by Louise Bourgeois (b. 1911), which sold for $ 1,439,500; Lot 10, «The American Sweetheart,» a good work by Robert Indiana (b. 1928), which sold for $ 614,500; Lot 8, «Great American Nude # 44,» by Tom Wesselmann (b. 1931), which sold for $ 944,500; Lot 35, «In the Beginning Was The Image,» a colorful and chaotic work by Asger Jorn (1914 - 1973), which sold for $ 2,099,500; Lot 46, «The Beach Series,» photographs of skinny young people of no particular distinction by Rineke Dijkstra (b. 1959), which sold for $ 405,000; Lot 40, «Figure 11.23,» a rather bloody looking work by Jenny Saville (b. 1970), which sold for $ 537,500; Lot 42, «Mailander Dom (Fassade),» a handsome church facade photograph by Thomas Struth (b. 1954), which sold for $ 317,500; Lot 45, «Wand (Mural),» by Thomas Demand (b. 1964), which sold for $ 141,500; Lot 48, «Thanksgiving,» a group of 149 photographs by Nan Goldin (b. 1953), which sold for $ 284,500; Lot 64, «Adieu Batista,» by Julian Schnabel (b. 1951), which sold for $ 361,500; Lot 68, «A Certain Lunar - Eclipse (Project for Humankind No. 2),» by Cai Guo - Qiang (b. 1957), which sold for $ 229,500; and Lot 24, «Untitled (Fragments),» by Toba Khedoori (b. 1964), which sold for $ 65,725.

«The exhibition will showcase the early collages that combine abstract painting, text, and image; and a selection of many of the artist's best - known blackboard paintings, in which a faux blackboard surface is used as the ground for realistic, painted vignettes adjacent to fragments of different stories that suggest variously ambiguous meanings.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

The images, fragmented and then displayed as three dimensional works, present the viewer with multiple, shifting perspectives when viewed from different angles and engage the environment in which they are presented.

Also featured is an original, rare drawing fragment of the Foundation Building by Petersen, a digital reconstruction of the architectural evolution of the Foundation Building, as well as images of student exhibitions and publications from 1965 to the present demonstrating the development of the Chanin School's pedagogy — which has influenced the study and teaching of architecture worldwide.

A number of fragments that are actually small images, presumably of the resurrection collaborations and the show, are embedded in a space, which, when you navigate it with your cursor feels like an invisible whirlpool, or the inside of a beehive in the middle of a webpage.

The showroom has been set with a course that allows to investigate different forms of spirituality; to complement the visit it has been produced a travel journal, in which each artist has chosen a work to associate its image with fragments of their open conversation with the writer.

Prince recycles these American (male) pop culture fantasies from found materials, most often advertising images and magazine layouts which he rephotographs, repaints or overpaints, arranges in collages, or breaks down into fragments.

Morley depicts details: each calibrated digital image as a whole is fragmented into a grid of small squares or «cells» as the artist calls them, from which Morley paints one discrete component at a time, turning the canvas upside down and sideways so that the abstract shape and color tonality of each part is addressed.

The artist thus creates an exhibition situation, which — depending on the position and perspective of the viewer — opens new contexts and points of reference between the altogether seven works on view: through overlapping and juxtaposition, fragmented image details of architectural constructions are transformed into new — rational and irrational — visual connections and associations.

The exhibition will showcase the early collages that combine abstract painting, text, and image, as well as a selection of many of his best - known blackboard paintings, in which a faux blackboard surface is used as the ground for realistic, painted vignettes adjacent to fragments of different stories that suggest variously ambiguous meanings.

Photographs of a series of what might be called «sculptural vignettes» bring together objects and images — including archival and vintage personal photographs, actual things (e.g., a whale bone, a ceramic frog, a pomegranate), maps, celestial landscapes, and fragments of writing on paper, among others — many of which Stuart collected and have been with her for years.

Beside the solidity of Johns» work, which physically embalms the image of the flag in fragments of newspaper and wax, the ripple of Hammons» fabric flag takes on a further revolutionary feeling.

Splashes of ink, dribbles and spattering of watercolour both obscure and are incorporated within the making of the image, whereas hand - written fragments of text — with political undertones — and scribbles of ball - point pen generate an urban, graffiti style aesthetic which reminds one of artists like Basquiat but has a distinct and unique personality.

There's a quality of William Burroughs's cut - ups to his remorseless, frantic hybrid works of art, like his Soundsystem, which splices together fragments of high and low culture and everyday life, and his brilliant video The March of the Big White Barbarians, which weaves images of London's 20th - century public art - all those clunking metal sculptures by Eduardo Paolozzi - into a hypnotic, endlessly fascinating dream of the city's secret life.

Fragments from American society have been distilled into key images, which often incorporate texts of varying length, from one word to several paragraphs.

But there is a terrifying scream hidden within that silence, in the form of fragmented mirrors on the floor, which create fractured images above.

While the majority of Grossman's works concern the physicality of the body, many of her collages and assemblages are dense, abstract compositions, such as Tough Life Diary (1973), created from words and fragments cut from the artist's diaries, and Light is Faster than Sound (1987 — 88), which combines dyed paper with an image of Lyndon Johnson and found scraps and fliers.

I am writing this statement not quite knowing what the immediate outcome will be, but am aware of the potential collective impact that this distinctive community of creators will have with Brian Belott's innovations in collage, Ákos Birkás's philosophy about painting a certain situation, Regina Bogat's devotion to art making with clever variations on certain abstract themes, Matt Bollinger's extra-large and bracing graphite drawings, Paul DeMuro's painterly electricity, Marc Desgrandchamp's time - fragmented paintings, Michael Dotson's paintings of the «Disney - esque,» Michel Huelin's relationship with nature and software, Irena Jurek's very meaningful cat character, Alix Le Méléder's proposals of four colors determined by the passage of the brush, David Lefebvre's painted images cut out of magazines or downloaded from a mobile phone, Pushpamala N.'s ethnographic documentations which have been compared to Cindy Sherman, Wang Keping's unique wooden sculptures that juxtapose vivid emotion with a marked sense of introversion, Katharina Ziemke's pictorial treatment of current events, and me, the co-host with a small drawing.

The pictures consist of fragments taken from images that can not be reconstructed, and of which the artist does not permit us to find any mnemonic trace; on the contrary, he himself, considering the process employed, is no longer able to recuperate the original forms.

[10] The two images are divided into separate zones, which serve to focus on visual parallels such as the arch of the tomato stem and the woman's eyelashes, as well as illustrating Rosenquist's signature, often surreal, fragmented composition.