Sentences with phrase «image acquisition in»

The staining intensity is classified as negative, weak, moderate or strong based on the laser power and detector gain settings used for image acquisition in combination with the visual appearance of the image.

Not exact matches

In some ways, it's reminiscent of Facebook's decision not to rebrand Instagram as «Mobile Facebook for Images» after its $ 1B acquisition.

Important factors that may affect the Company's business and operations and that may cause actual results to differ materially from those in the forward - looking statements include, but are not limited to, increased competition; the Company's ability to maintain, extend and expand its reputation and brand image; the Company's ability to differentiate its products from other brands; the consolidation of retail customers; the Company's ability to predict, identify and interpret changes in consumer preferences and demand; the Company's ability to drive revenue growth in its key product categories, increase its market share, or add products; an impairment of the carrying value of goodwill or other indefinite - lived intangible assets; volatility in commodity, energy and other input costs; changes in the Company's management team or other key personnel; the Company's inability to realize the anticipated benefits from the Company's cost savings initiatives; changes in relationships with significant customers and suppliers; execution of the Company's international expansion strategy; changes in laws and regulations; legal claims or other regulatory enforcement actions; product recalls or product liability claims; unanticipated business disruptions; failure to successfully integrate the Company; the Company's ability to complete or realize the benefits from potential and completed acquisitions, alliances, divestitures or joint ventures; economic and political conditions in the nations in which the Company operates; the volatility of capital markets; increased pension, labor and people - related expenses; volatility in the market value of all or a portion of the derivatives that the Company uses; exchange rate fluctuations; disruptions in information technology networks and systems; the Company's inability to protect intellectual property rights; impacts of natural events in the locations in which the Company or its customers, suppliers or regulators operate; the Company's indebtedness and ability to pay such indebtedness; the Company's dividend payments on its Series A Preferred Stock; tax law changes or interpretations; pricing actions; and other factors.

Important factors that may affect the Company's business and operations and that may cause actual results to differ materially from those in the forward - looking statements include, but are not limited to, operating in a highly competitive industry; changes in the retail landscape or the loss of key retail customers; the Company's ability to maintain, extend and expand its reputation and brand image; the impacts of the Company's international operations; the Company's ability to leverage its brand value; the Company's ability to predict, identify and interpret changes in consumer preferences and demand; the Company's ability to drive revenue growth in its key product categories, increase its market share, or add products; an impairment of the carrying value of goodwill or other indefinite - lived intangible assets; volatility in commodity, energy and other input costs; changes in the Company's management team or other key personnel; the Company's ability to realize the anticipated benefits from its cost savings initiatives; changes in relationships with significant customers and suppliers; the execution of the Company's international expansion strategy; tax law changes or interpretations; legal claims or other regulatory enforcement actions; product recalls or product liability claims; unanticipated business disruptions; the Company's ability to complete or realize the benefits from potential and completed acquisitions, alliances, divestitures or joint ventures; economic and political conditions in the United States and in various other nations in which we operate; the volatility of capital markets; increased pension, labor and people - related expenses; volatility in the market value of all or a portion of the derivatives we use; exchange rate fluctuations; risks associated with information technology and systems, including service interruptions, misappropriation of data or breaches of security; the Company's ability to protect intellectual property rights; impacts of natural events in the locations in which we or the Company's customers, suppliers or regulators operate; the Company's indebtedness and ability to pay such indebtedness; the Company's ownership structure; the impact of future sales of its common stock in the public markets; the Company's ability to continue to pay a regular dividend; changes in laws and regulations; restatements of the Company's consolidated financial statements; and other factors.

Important factors that may affect the Company's business and operations and that may cause actual results to differ materially from those in the forward - looking statements include, but are not limited to, increased competition; the Company's ability to maintain, extend and expand its reputation and brand image; the Company's ability to differentiate its products from other brands; the consolidation of retail customers; the Company's ability to predict, identify and interpret changes in consumer preferences and demand; the Company's ability to drive revenue growth in its key product categories, increase its market share or add products; an impairment of the carrying value of goodwill or other indefinite - lived intangible assets; volatility in commodity, energy and other input costs; changes in the Company's management team or other key personnel; the Company's inability to realize the anticipated benefits from the Company's cost savings initiatives; changes in relationships with significant customers and suppliers; execution of the Company's international expansion strategy; changes in laws and regulations; legal claims or other regulatory enforcement actions; product recalls or product liability claims; unanticipated business disruptions; failure to successfully integrate the business and operations of the Company in the expected time frame; the Company's ability to complete or realize the benefits from potential and completed acquisitions, alliances, divestitures or joint ventures; economic and political conditions in the nations in which the Company operates; the volatility of capital markets; increased pension, labor and people - related expenses; volatility in the market value of all or a portion of the derivatives that the Company uses; exchange rate fluctuations; risks associated with information technology and systems, including service interruptions, misappropriation of data or breaches of security; the Company's inability to protect intellectual property rights; impacts of natural events in the locations in which the Company or its customers, suppliers or regulators operate; the Company's indebtedness and ability to pay such indebtedness; tax law changes or interpretations; and other factors.

At AUTOMATICA 2012 and going forward, developments in sensor technology such as 3 - D image acquisition systems and the use of force / torque sensors will be obvious trends as a new generation of human - friendly assistance systems emerges.

In June 2007, AIUSA released its Eyes On Darfur website, featuring the results of these image acquisitions and analysis.

Its imaging module and easy - to - use Kaleido 2.0 data acquisition and analysis software allow you to image a 384 - well plate in less than 5 min., a two - color image in around 6 min., and a three - color image in around 7 min.

The computer also manages the acquisition of images by the microscope and their analysis, to quantify the cellular responses in real - time.

«We're installing a more powerful computer at the observatory in Hawaii to process the images seconds after they are acquired and provide the data on the internet within a minute or two of acquisition.»

These advances in image acquisition and automation have transformed numerous fields and have yielded increased data capture and throughput.

«The ability to accelerate image acquisition and reduce radiation dose opens up new horizons, particularly in life sciences and soft matter research, by electron tomography,» says Prof. Rafal Dunin - Borkowski.

Boyle says that with its wide field of view and high - speed data acquisition, the array can capture views of galaxies in two images and 5 minutes of observing time that previously took 400 images and 2 years to assemble.

RIKEN launched an investigation after claims of image manipulation and plagiarism surfaced regarding a research article and a letter published online in Nature on 29 January that described a new, simple way of creating stem cells called STAP, for stimulus - triggered acquisition of pluripotency.

In that time, image acquisition and analysis technologies have evolved to provide a wide range of optical approaches to high throughput analysis of cell biology processes in situ and in - contexIn that time, image acquisition and analysis technologies have evolved to provide a wide range of optical approaches to high throughput analysis of cell biology processes in situ and in - contexin situ and in - contexin - context.

Two papers claiming that stressing the body's cell could produce embryonic - like stem cells, a process called stimulus - triggered acquisition of pluripotency (STAP), were heralded when published in Nature in January but thrashed soon after when problematic images and figures were soon found.

The facility staff advises on protocols and selection of antibodies and assists in tissue processing, image acquisition and image processing.

MPE09: Achieving quality in diagnostic and screening mammography A practical challenge to be solved: How to perform technical quality control in breast cancer screening, including modern image analysis, image processing and image acquisition techniques?

These critical needs will be addressed with a combination of hardware and software development followed by testing in cardiovascular applications as described in 3 specific aims: I. Development and construction of EPRI hardware optimized for high sensitivity fast scan image acquisition and integration of it with high field MRI; II.

The purpose of the course is to prepare and train our users in sample preparation methods, introduce users to image data acquisition workflow, expand knowledge about cryo - EM methods among Swedish researchers and finally show that everyone can learn how to use cryo - EM, if this method is needed in a project.

In a handful of simple, uplifting images that include the ritual immersion of a mikveh and the acquisition of a more imposing new wardrobe, the film leaves us with the impression of a man taking the necessary steps to make himself whole again, and perhaps in time his family, toIn a handful of simple, uplifting images that include the ritual immersion of a mikveh and the acquisition of a more imposing new wardrobe, the film leaves us with the impression of a man taking the necessary steps to make himself whole again, and perhaps in time his family, toin time his family, too.

Screencaps, scans, and other images Image Gallery Lost Memories DVD Screencaps Demo versions Videos Let's Play SH3 OPM ps2 demo Gun acquisition storyboard comparison video Opening scene storyboard comparison video Angela in SH3 Silent Hill stuff in PS Home SH2 Mandarins and SH3 Closers comparison Let's Camhack Silent Hill 3 Heather and Memory of Alessa -LSB-...]

Digital radiology is the acquisition of radiographic images in a digital format that are displayed on a computer screen rather than being printed on radiographic film and viewed on a light box.

The remote laptop for image acquisition and review works off battery or can plug - in providing a new level of flexibility in work flow.

T), the acquisition of U.S. firm Gaikai Inc, ramping up in CMOS image sensors used in devices like digital cameras and to repay debt.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2) Americans in Paris: Abstract Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).

Traveled to Blum Helman Gallery, New York (July 13 — August 17); Murray State University, Murray, Kentucky (November — December); Grand Rapids Art Museum, Grand Rapids, Michigan (January 12 — February 25, 1990); University Art Gallery, University of North Texas, Denton (September — October 1990); Richard F. Brush Gallery, St. Lawrence University, Canton, New York (November — December 1990); and the University of Oklahoma Museum of Art, Norman (January 18 — March 3, 1991) Morceaux Choisis 1: Sélections des acquisitions du FRAC de Haute - Normandie 1983 — 1988, Fonds Régionale d'Art Contemporain de Haute - Normandie, Hôtel de Région, Rouen, France (May 9 — June 2) The Linear Image: American Master Works on Paper Since 1939, Marisa del Re Gallery, New York (April 25 — May 27) Emplois du Temps: Exposition de Peinture Contemporaine, Salle des Procureurs du Palais de Justice de Rouen, France (April 21 — May 2) Made in America, Virginia Beach Center for the Arts, Virginia Beach (April 5 — June 11) Methods in Abstraction, Gallery Urban, New York (March 3 — 25) Ronald Bladen the 1950s: Bluhm, Bolotowsky, Held, Mitchell, Youngerman, Washburn Gallery, New York (February 7 — March 12) Important Works on Paper, Meredith Long Gallery, Houston

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

Image: School of Beauty, School of Culture, 2012, Kerry James Marshall, acrylic and glitter on unstretched canvas, 108 x 158 in., Birmingham Museum of Art, Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds, 2012.57, © Kerry James Marshall.

Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)

Ten Thousand Waves (on display 30 March — 28 August 2018) is the most recent in a series of major moving image acquisitions by the Whitworth, and was supported through...

Inspired by the Gallery's recent acquisition of Kruger's Untitled (Know nothing, Believe anything, Forget everything)(1987/2014), the exhibition comprises related images of faces and figures in profile over which Kruger has superimposed her striking phrases and figures of speech.

The earliest acquisitions were images by Luke Swank, Walker Evans, George Platt Lynes and László Moholy - Nagy purchased in 1933; photography became a regular part of the exhibition and acquisition program in the 1960s.

Connections and Context features recent acquisitions that introduce renowned artists to the Parrish collection, including an important painting by Hans Hofmann, Image in Green (1950), and photographs Chuck Close (2000) by Annie Leibovitz and David Wojnarowicz (1985) by Nan Goldin.

Donors of recent acquisitions: Monica Banks, Tribute, 2015, Gift of Amy Plumb Oppenheim Michael Cline, The Patriot, 2007, Gift of Carlo Bronzini Vender Eva Faye, White Series, No. 28, 2009, Gift of Abby Terkuhle Joe Fig, April and Eric: August 10, 2004, 2005 - 2006, Gift of Rita and Herbert Krauss Margaret Garrett, Journal, Winter, 2013, Gift of the artist Nan Goldin, David Wojnarowicz, 1985, Gift of Cee Scott Brown and John Bjornen Robert Harms, July, 1985, Gift of Richard I. Adrian Hans Hofmann, Image in Green, 1950, Gift of Karen LaGatta Annie Leibovitz, Chuck Close, 2000, Gift of Laura Lofaro - Freeman and James Freeman Christa Maiwald, The Cake and I, 2015, Gift of Amy Plumb Oppenheim Cindy Sherman, Lucille Ball, 1975, Gift of Dana and Richard Kirshenbaum Donald Sultan, The Cantaloupe Pickers, 1983, Gift of Loretta and Robert Lifton

Won a Guggenheim, exhibited at the opening of the Smithsonian Museum of African American History and Culture and mentioned in the New York Times article about the museum, honored by the Hirshhorn museum at their spring gala, won the Moving Image Art Award and museum acquisition by 21 Century Museum, several solo museum exhibitions numerous acclaimed performances and group exhibitions, included in Shanghai Biennial, currently showing at Yale University Art Gallery.

Selected group exhibitions include Between Picture and Viewer: The Image in Contemporary Painting (2010) at Visual Arts Gallery at the School of Visual Arts in New York, Recent Acquisitions: Works on Paper (2003) at The Metropolitan Museum of Art, Black & White Drawings (1993) at The Museum of Modern Art in New York, and Slow Art: Painting in New York Now (1992) at PS1 in Queens, NY.

2005, Between Image and Concept: Recent Acquisitions in African - American Art, Princeton University Art Museum, Princeton, NJ

In addition to the many recent acquisitions to the Marieluise Hessel Collection including new works by Rachel Rose, Philippe Parreno, Hito Steyerl, and Jutta Koether, among others, in 2012, CCS Bard acquired the Colin de Land, American Fine Arts, Co. and Pat Hearn Gallery Archives (for which a major exhibition is planned for 2017), and in 2013 received the gift of the John Hanhardt Archive, a unique history of exhibitions and artists working with the moving image over the past fifty years (from Nam June Paik to Cory ArcangelIn addition to the many recent acquisitions to the Marieluise Hessel Collection including new works by Rachel Rose, Philippe Parreno, Hito Steyerl, and Jutta Koether, among others, in 2012, CCS Bard acquired the Colin de Land, American Fine Arts, Co. and Pat Hearn Gallery Archives (for which a major exhibition is planned for 2017), and in 2013 received the gift of the John Hanhardt Archive, a unique history of exhibitions and artists working with the moving image over the past fifty years (from Nam June Paik to Cory Arcangelin 2012, CCS Bard acquired the Colin de Land, American Fine Arts, Co. and Pat Hearn Gallery Archives (for which a major exhibition is planned for 2017), and in 2013 received the gift of the John Hanhardt Archive, a unique history of exhibitions and artists working with the moving image over the past fifty years (from Nam June Paik to Cory Arcangelin 2013 received the gift of the John Hanhardt Archive, a unique history of exhibitions and artists working with the moving image over the past fifty years (from Nam June Paik to Cory Arcangel).

Getty images photographed the annual event that raises funds to support the acquisition of new works by emerging artists, such as the 2001 purchase «Daddy, Daddy, Daddy» by Mark Bradford, early in the Los Angeles - based artist's career.

ISAAC JULIEN: TEN THOUSAND WAVES Mar 30 - Aug 28, 2018 Ten Thousand Waves is the most recent in a series of major moving image acquisitions by the Whitworth, and was supported through Art Fund's Moving Image image acquisitions by the Whitworth, and was supported through Art Fund's Moving Image Image Fund.

Isaac Julien: Ten Thousand Waves is the most recent in a series of major moving image acquisitions by The Whitworth, and was supported through Art Fund's Moving Image image acquisitions by The Whitworth, and was supported through Art Fund's Moving Image Image Fund.

Notable group shows include participations in the 7th Beijing Biennale, 2017; Kochi - Muziris Biennale, India, 2016; Jameel Prize 4 Pera Museum Istanbul, Turkey and Asia Culture Centre, Gwangju, Korea; «Rebel, Jester, Mystic, Poet: Contemporary Persians», Museum of Fine Art, Houston and Aga Khan Museum, Toronto, Canada, 2017; «Iranian Voices, Recent Acquisitions of Works on Paper», British Museum, 2017; «For an Image, Faster Than Light», Yinchuan Museum of Contemporary Art, Yinchuan, China; «Global / Local 1960 - 2015: Six Artists From Iran», Grey Art Gallery, New York University, 2016; «Memory and Continuity: A Selection from the Huma Kabakci Collection», Pera Museum, Istanbul, Turkey, 2016; Kochi - Muziris Biennale, India, 2016; Young Collectors, The Elgiz Museum, Istanbul, Turkey, 2014 and the Mykonos Biennale, Greece, 2013.

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, Bolognin 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, BolognIn 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, Bolognin 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.

Images: School of Beauty, School of Culture, 2012, Kerry James Marshall, acrylic and glitter on unstretched canvas, 108 x 158 in., Birmingham Museum of Art, Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds, 2012.57, © Kerry James Marshall.

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

Art and Black Los Angeles 1960 - 1980 UCLA Hammer Museum, Los Angeles State of Mind: New California Art Circa 1970 Orange County Museum of Art, Newport Beach (traveled to UC Berkeley Art Museum and Pacific Film Archive, Berkeley; Morris and Helen Belkin Art Gallery, Vancouver; SITE Santa Fe; The Bronx Museum, New York) 2010 Summer Group Show Susanne Vielmetter Los Angeles Projects, Los Angeles The Artist's Museum: Los Angeles Artists 1980 - 2010 The Museum of Contemporary Art, Los Angeles The Seventh House Project Row Houses, Houston Noir Complex Magazin 4, Bregenzer Kunstverein (traveled to Brandenburgischer Kunstverein, Potsdam) Project Row Houses, Houston Man Son, Vom Schrecken der Situation Galerien der Stadt Esslingen, Esslingen Am Necker 2009 Collection: MOCA's First Thirty Years, 1980 — Now The Geffen Contemporary at MOCA, Los Angeles Oz: New Offerings from Angel City Regional Museum of Guadalajara, Guadalajara Attempt to Raise Hell San Diego Museum of Contemporary Art Downtown, San Diego Invitational Exhibition of Visual Arts American Academy of Arts and Letters, New York 2008 Index: Conceptualism in California from the Permanent Collection The Geffen Contemporary at the Museum of Contemporary Art (MOCA), Los Angeles Weighing and Wanting Museum of Contemporary Art San Diego, La Jolla Entre Chien et Loup Kent Gallery, New York Wild Signals — Artistic Postions between Symptom and Analysis Württembergischer Kunstverein Stuttgart, Stuttgart Idea, Text and Image, Schneider Museum of Art, Southern Oregon University, Ashland 2007 Im Wort Kunsthalle Göppingen, Göppingen Read Me: Text in Art Armory Center for the Arts, Pasadena From Close to Home: Recent Acquisitions of Los Angeles Art Museum of Contemporary Art, Los Angeles 2005 Double Consciousness: Black Conceptual Art Since 1970 Contemporary Arts Museum, Houston Hommage to Friedrich Schiller Brigitte March Gallery, Stuttgart Kamm Gallery Anniversary Exhibition Galerie Kamm, Berlin 2004 Fade (1990 - Present): African American Artists in Los Angeles, a Survey Exhibition Luckman Gallery and the University Fine Arts Gallery, Los Angeles Craft and Folk Art Museum, Los Angeles Recherche - entdeckt!

Massive Image 1991 acrylic on canvas Robert Motherwell born Aberdeen, Wash. 1915 died Provincetown, Mass. 1991 Museum purchase made possible by Doris E. Black; Donald F. Broda in honor of Kathleen L. Broda; Natalie Harris; Sally Foley Hughston; Pat Hurst Jordan, in memory of her parents, Dr. A. E. and Ruth Hurst; Jan J. Miller; Babette M. Rothschild; Sandy Bartlett Scarborough; Marge Tilley, in memory of Mr. and Mrs. L.A. Platt; Rebecca K. Yarbrough, in honor of Dr. Sidney H. Yarbrough III; special assistance from the Ella E. Kirven Charitable Lead Trust for Acquisitions; and a gift from the Dedalus Foundation 2000.13.5 The large scale of Massive Image wraps around the peripheral vision and overwhelms the viewer.

A painting in the show, Sir Nicholas Serota Makes an Acquisitions Decision by Charles Thomson, has since been reproduced in the media many times and become an iconic image for the Stuckists.