Sentences with phrase «framed photographs from»

It also helps draw the eye up to a focal point, in this instance a collection of framed photographs from The Photographers» Gallery.

Not exact matches

He is an unabashed collector of newspaper clippings, documents and gimcracks, and the walls and shelves in the office are blanketed with such oddments as ice axes and pitons, a photograph of John Glenn (whom Day resembles), a quotation from President Lyndon Johnson deploring procrastination, college diplomas, membership certificates from the Rotary Club, fraternities, outdoorsmen's clubs and the American Airlines» Admirals Club, and a number of framed letters from such luminaries as Dwight Eisenhower and Stuart Udall.

I'm the type that loves to give framed photographs as birthday and holiday gifts, and now I can print my own from the comfort of my home.

Pick up an old window frame from a garage sale or similar and dress it up with some flowers (real or fake), and a painted or photographed scene.

In principle, once all the fragments had been sequenced, the researchers could piece together the whole chromosome the way you might piece together a single panoramic photograph from a series of overlapping frames.

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.

To underline the point, director Matt Reeves frames a sequence of Gary Oldman shuffling through family photographs on his iPad, the glow from the screen quietly lighting the actor's tearful, joyful face; and then repeats the trick a few scenes later, with an entirely CGI character delivering just as complex a scene in total wordlessness, with a different glowing screen and different family pictures.

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.

Anastasia (1997) becomes a stage musical this summer in London and is eyeing the 2016/2017 Broadway season • There are some who are suspicious that this news is not really official but Nicole Kidman is supposedly returning to Broadway this fall with Photograph 51, after its London run • Industry people got really excited about 3D high frame rate footage from Ang Lee's Billy Lynn's Long Halftime Walk at a Future of Cinema Conference • The Academy is STILL trying to explain their new voting rules.

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.

Grace frames photographs of Charlie, in chronological order from infancy to pre-war with her and Amy, which she hangs on her sunporch wall after he dies.

«I have a photograph from one of those summers at Chocorua, framing the backs of my dog and Caroline's, Clementine and Lucille, who are silhouetted in the window seat and looking outside.

Custom framers from around the world sent in photographs of their creative framing projects in seven categories: objects, mirrors, textiles, documents, art on canvas, art on paper and photography.

Custom picture framing helps give your photographs and original artwork a personal touch that you can't find in standard frames from a craft store or other outlet.

Photographs of piles accumulated around the artist's house, clipped from their surroundings to create an abstract landscape / Frames, foam core, digital prints on wall decals / 2007

One might start with a newcomer, Airplane, in a frame house on the western edge, where Andrea Burgay's light - toned abstraction and Shinya Watanabe's photographs of sunlight competed with ill - tempered robots from Tim Belknap and Peter Caine.

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.

The photographs and video works in this exhibition display the ups and downs of life, freezing the frame somewhere between the beginning and end of an action, from the precise click of the shutter.

That is, the narrative that evolved from physical photographs housed in shoe boxes and frames, to pixels, posts, and clouds.

MICHAEL NAJJAR From the series high altitude, 2008 - 2010 Hybrid photographs mounted on Aludibond, Plexi and custom - made aluminum frame 52 x 79.5 inches Courtesy of the artist Photography © Fredrik Nilsen

Photographed from the same frontal viewpoint, Boomoon's images capture his bodily encounter with the waterfall, intensified by entering the freezing water of the pool below the falls, to attain a position where the «horizon», (in this case, the point at which the vertical energy of the falling water meets the horizontal axis of the pool) is situated precisely at the lower third of the frame.

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.

Cantor Arts Center «Framing in Time: Photographs From the Cantor Arts Center Reimagined.»

Their more expansive compositions allow the viewer to ponder architectural elements or the unusual collections of objects that she has rendered — a blue plastic doll imported from Ghana, an arched doorway and television set, an assortment of framed photographs, an empty balcony, oil lanterns on a tabletop — which serve to represent absence and quietude in her otherwise densely textured works.

American Post-Impressionists: Maurice & Charles Prendergast features over 100 works, including paintings, sculptures, frames, sketchbooks, photographs, letters, and tools drawn from the permanent collection of the New Britain Museum of American Art and the Prendergast Archive & Study Center at Williams College Museum of Art, Williamstown, MA, which houses the largest Prendergast collection in the world.

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.

Zac Langdon - Pole, The Torture Garden (verso view), 2016, framed digital print, photograph taken by Willem de Rooij, 2015, digital prints, Problem Poem 2, quote from p.g. 2, The Torture Garden, by Octave Mirbeau, 1889

This latest issue of Esopus, featuring a brand - new format and design (and encased in a slipcover), features artists» projects by Sharon Core, Joyce Pensato and John Sparagana; 100 still frames from David Lynch's Blue Velvet (introduced by Gregory Crewdson); materials from MoMA's archives related to late artist Scott Burton's early performance pieces; never - before - seen photographs from 1949 by Magnum photographer Burt Glinn; commentary on artworks from the New Orleans Museum of Art by two of its guards; fiction by Chelli Riddiough; and an audio compilation of new songs inspired by the customer - service experiences of Jens Lekman, Richard Swift, Basia Bulat and others.

«I can not imagine a viewer emerging from the rooms at Tate Modern and being sure that Richter's endless hovering around the fact of the photograph — his subservience and aggression towards the medium — had solved, or even properly framed, the problem of «painting and figuration» in our time,» notes T.J. Clark in his London Review of Books article about Richter's 2011 Tate Modern exhibition

There are also photographs by Felix Gonzalez - Torres, including a group of five framed gelatin silver prints (from an edition of two) showing birds that seem to disappear into the sky, the artist's comment on the fleeting nature of life.

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».

Had this show been called «Deconstructing the Grid», it might not have seemed a likely summer offering — yet that would equally describe the contents of «Playground Structure», the title actually deriving from a Jeff Wall photograph which makes a climbing frame look like a sculptural grid.

Huffman's room - sized installation featured videos on flat - screen monitors, projections, framed photographs, screenprints, and a sculpture consisting of five windshields suspended from the ceiling of the gallery.

The piece is comprised of 65 found photographs of women, ranging in aesthetic from the sweet to the erotic and presented in suburban basement - style wooden frames.

Gray's most recent photo works are comprised of photographs gathered from his own archive and recontextualized via their juxtaposition with one another and the use of antique frames as a structuring device.

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.

She often integrates her photographs with furniture to create compelling scenes, as with the installation Greed (1988) from the ICP collection, comprised of a chair, an empty frame, and her own photograph of a museum gallery showing a guard in a chair.

The photograph above shows the steam from the decomposition, and the small white dots at the bottom of the frame are live maggots.

«To come up with every image in of this series, I had to photograph the same framing many times, so I could combine people from different shots into one single image,» he explains.

Although her mother is absent in the photographs, her struggle is definitely apparent in each frame, from the grimy floors and junk food boxes, to the overflowing pile of cigarettes in the bathroom sink.

From the fashion, to the billboards and the cars in the parking lots, these photographs freeze - frame moments of a bygone time, allowing the viewer to capture a sense of the true heart and soul of San Fran.

Last night at Baxter St at the Camera Club of New York's opening of «Do Not Destroy,» California artist Sadie Barnette's first solo exhibition in New York City, Rodney Barnette stood in between two large framed photographs of himself from nearly 50 years ago: one, dressed in the uniform of the U.S. Army before he was sent to fight in Vietnam, and after, outfitted in the black turtleneck, black leather jacket, solidarity - fist button, and black beret that were the de-facto uniform of the Black Panther Party, of whom he was once an organizer.

The Modern Art Museum of Fort Worth presents FRAMING DESIRE, an exhibition showcasing over 40 recent acquisitions alongside iconic photographs and videos from the permanent collection.

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

In a digital era where electronic devices mediate our viewing experiences, the three - dimensional arm, appropriated from the photograph, invites the viewer to consider the framing and context of the images that surround us.»

Mixing artifact with mythology, and history with invention, the project's wide - ranging material includes a 45 - minute film and still photographs from the forests of Oregon, to St. Petersburg and the White Sea in Russia; sculptures; topological maps; and site - specific framed works.

Chopped up glimpses of photographs are mounted, layered, and reassembled on solid surfaces, variously bent and reaching away from the wall, or simply leaning up against it; their unexpected forms exceed the typical photographic frame, in turn making the entire wall or room the frame.

«Framing in Time: Photographs From the Cantor Arts Center Reimagined.»

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