Sentences with phrase «image production at»

Not exact matches

Woods excels at creating images that inspire notions of high production values, with images that are shot between shows on an iPhone.

Basically, these systems are adept at increasing the consistency of the production line because the cameras have the ability to very quickly capture the image of a product and check if it meets the necessary specifications which are set up.

Although a renowned political dissident, the contemporary artist's eccentric, Tate - friendly image may be shared by many in this country who are unaware of the horrors he experienced at the hands of the Chinese government, when detained in 2011 for the 81 excruciating days starkly dissected in this production.

Cobalt atoms shine in an electron microscope image of a new catalyst for hydrogen production invented at Rice University.

And until the mass production of the achromatic lens around 1775, they couldn't correct for the fact that different wavelength of light refract at different angles and cause a blurry image at the focal point.

IMAGE: Six biodegradable mulches were compared in a high tunnel cucumber production system at Urbana, IL, in 2013.

This image is taken with a 20in RC Optical Systems telescope Operating at f / 8.1 Paramount ME Robotic Telescope Mount SBIG ST10XME CCD camera with color filter wheel LRGB color production was used to create this image.

Swire has been involved in food production and distribution since the 1880s, when it established the Taikoo Sugar Refinery in Hong McDonald's took the revolutionary step on Tuesday of introducing knives and forks at branches in France as the burger giant attempts to revamp its image

Entertainment One's Blu - ray release of the BBC Films production delivers overall a very good 2.35:1 image that is at its best in the numerous outdoor location sequences.

The 17th annual FringeNYC; an outdoors production of «Lady Windermere's Fan» in L.A.; Museum of the Moving Image's «Persol Magnificent Obsessions» exhibit; an explanation of fair use held at Film Independent; and «Smash,» Season 2, on DVD are what we're looking forward to this week.

, Syd Garon (CEH15, Outstanding Graphic Design, Jodorowsky's Dune), Eugene Hernandez (Deputy Director, Film Society at Lincoln Center), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Jason Ishikawa (Head of International Sales, Cinetic Media), Steve James (CEH12 Winner, Outstanding Feature & Direction, The Interrupters), Kirsten Johnson (CEH17 Winner, Outstanding Feature & Cinematography, Cameraperson), John Kusiak (CEH12 Winner, Outstanding Score, Tabloid), Loira Limbal (Vice President, Firelight Media), Elizabeth Lo (CEH16 Winner, Outstanding Nonfiction Short Film, Hotel 22), Michal Marczak (CEH17 Winner, Heterodox Award, All These Sleepless Nights), Marilyn Ness (CEH17 Winner, Outstanding Feature, Cameraperson), Dan Nuxoll (Artistic Director, Rooftop Films), Bill Ross (CEH13 Nominee, Outstanding Direction, Tchoupitoulas; CEH16 Nominee, Cinematography, Western), Kelli Scarr (CEH09 Nominee, Outstanding Score, In a Dream), Mo Scarpelli (CEH16 Nominee, Spotlight Award, Frame by Frame), Jess Search (Chief Executive, The Doc Society), Signe, Byrge Sorensen (CEH16 Winner, Outstanding Feature Film & Production, The Look of Silence), Jean Tsien (Editor of CEH17 Audience Nominee Miss Sharon Jones!)

To now return to that famous image of Welles's Kane in his paper - strewn office after losing a bid at political office, towering above Gregg Toland's camera as he gets a proper moral thrashing from his only true friend in the world, it becomes impossible to not consider all those similar thrashings that friends, colleagues, and complete strangers gave Welles at the impetus of the project, during its production, and most of all, upon its release.

[Update: We've taken down the images at the request of the production company.]

Images of a stage production of «Uncle Tom's Cabin» ending in an actor playing Lincoln being pelted by vegetables hint at the sort of picture this should have been; images of an elephant rampaging through the Draft Riot streets suggest that bread and circus dispenser P.T. Barnum's dictum was mostly coImages of a stage production of «Uncle Tom's Cabin» ending in an actor playing Lincoln being pelted by vegetables hint at the sort of picture this should have been; images of an elephant rampaging through the Draft Riot streets suggest that bread and circus dispenser P.T. Barnum's dictum was mostly coimages of an elephant rampaging through the Draft Riot streets suggest that bread and circus dispenser P.T. Barnum's dictum was mostly correct.

Last month it was revealed that Megalyn Echikunwoke is set to bring Mari McCabe from animation to live - action with a guest - starring role as Vixen in the fourth season of Arrow, and now we have out first official look at the actress in character... The official image comes after Stephen Amell posted a behind - the - scenes shot from production -LSB-...]

There's a recurring image of a bear on fire running through a burning forest in Only the Brave — a visual at once starkly horrifying yet majestic, like something out of a high - fantasy production.

«Encounters at the End of the World,» a Creative Differences Production (THINKFilm and Image Entertainment)(1 nomination) Documentary feature

Hit the jump to take a look at the production blog, and click here to peruse a large batch of high - resolution images from the film.

ANAHEIM, CA — JULY 15: President of Walt Disney Studios Motion Picture Production Sean Bailey took part today in the Walt Disney Studios live action presentation at Disney's D23 EXPO 2017 in Anaheim, Calif. (Photo by Jesse Grant / Getty Images for Disney)

In this episode of The Film Comment Podcast, James sits down with Eric Hynes, FC contributor and Curator of Film at the Museum of the Moving Image, to talk about the production process and his own experiences living in the community in which it's set.

He supervised the production of films including George Clooney's 2005 Best Picture nominee Good Night, and Good Luck; the critically acclaimed family film and 2006 NAACP Image Award nominee Akeelah and the Bee, starring Laurence Fishburne and Angela Bassett; dark thriller Turistas, for which domestic rights were sold to Fox Atomic in a pre-emptive bid within hours of the film's first screening; James Gray's crime thriller We Own the Night, starring Joaquin Phoenix, Mark Wahlberg, Robert Duvall and Eva Mendes, which ranked as the largest - ever domestic sale at Cannes; and The Road, an adaptation of Cormac McCarthy's Pulitzer Prize - winning novel starring Viggo Mortensen, Charlize Theron and Robert Duvall, which pre-sold to The Weinstein Company in a multi-party bidding war.

It's been a long road of concepts cars, teaser images, development drives and the deployment of a WEC racing car, but the road - going production version of the BMW 8 - series Coupe finally will finally be revealed in full at this year's Le Mans 24h.

Now, the automaker has revealed the first images of the production Niro EV ahead of the model's official debut at the Paris Motor Show this September.

Prototypes for the new ZR1 have been seen testing in the US and at the Nurburgring during recent months, but it's only now that we have technical details and images of the production - ready car.

The German car manufacturer has now released a concept image of the electric I.D. Crozz that will be shown in its close to production ready form at the 20176 Frankfurt Motor Show.

The production version of Honda's latest hot hatch icon is revealed for the first time at the 85th Geneva Motor Show (5 to 15 March; Stand 4250, Hall 4), and more images of the car can be viewed at: www.hondanews.eu / gb

And now there are fresh images of the new - gen Suzuki Jimny on the internet which have been taken at one of Suzuki's production plant in Japan.

Auto Bild published the first official images of the near - production model, and now it has been seen at the Frankfurt Motor Show.

Chrysler Motor unveiled five concept vehicles and a 1990 production model this month at the North American International Auto Show in Detroit.The concept vehicles reflect the image the company seeks for its car and truck brands.The six vehicles are: - The Chrysler Millennium - a four - passenger sedan that emphasizes safety and control - related features.

However looking at the images, the vehicle is almost production ready, with only the headlights, wheels and interiors looking too mature for a car of this price.

First images of the production version of Toyota's all - new compact SUV, the C - HR, have hit the internet ahead of its world debut at the Geneva motor show on March 1.

From images of a production - spec 2017 Hyundai Verna photographed in China, here's a brief pictorial comparison of it and the Verna concept that was unveiled at the 2016 Beijing Motor Show in March.

These images of a camouflaged test mule don't reveal much about what the final production version will look like, since it appears to be wrapped in what looks like the latest Discovery both — at least from the front and rear.

The VW Beetle Dune seen in these images from Auto China 2016 (2016 Beijing Motor Show) was originally introduced in a concept form at the 2014 North American International Auto Show in Detroit and unveiled in production form at the 2015 Los Angeles Auto Show.

Based on this official image, a speculative rendering from IAB's illustrator Shoeb Kalania gives the closest look at the production next - gen Porsche Panamera which is expected to debut at the 2016 Paris Motor Show.

The emergence of these spy shots of the rear end hint at the possibility that the images that surfaced earlier this week were indeed that of the production - spec GO Cross and not just an accessorised GO +, as the source claimed.

The massive wing shown in Toyota's teaser image suggests we're looking at a concept car, and the term «concept» hints the production model is still at least a few months away from breaking cover.

Well, Honda hasn't released any images of the production Ridgeline, so we're actually getting our first look at the new pickup, albeit in its off - road racing guise.

It's all too common for a book to go into production only to get held up because the graphics were produced by someone who didn't know the requirements of print production, or they were output at a resolution too low for printing; or the files are too small to create images the size that you want in the book, or for any number of other problems that can cause your project to come to a grinding halt.

His installation at MASS MoCA will include a selection of photographic works and a sculpture built for the gallery which will play off those images and the materials involved in their production, storage, and presentation.

The objects made by Lins — a Bell telephone, a VKhUTEMAS model, a table built to the specifications set out by Enzo Mari in his open - source manual Autoprogettazione of 1974 — are at the same time models for some other form of artistic production: things beyond the categories of craft, art, design, sculpture, image, capitalist consumerism, or communist nostalgia.

The documentary Einstein on the Beach: The Changing Image of Opera, about the 1984 production at BAM, is screened in the Morgan's Gilder Lehrman Hall throughout the exhibition.

«Image Object,» at Foxy Production, got an early start with just four artists.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

At times, I work in a similar way; as a photographic practitioner, I decenter myself in relation to the production of the image, and extend that to the construction of my exhibitions.

In the late 1960s, Sarah Charlesworth (1947 — 2013) studied with Douglas Huebler at Barnard, «just at the moment when he was abandoning the production of sculptural objects for a «dematerialized» structure of photographic images and textural documentation.»

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Samira Yamin's practice explores systems of knowledge production through systematic interventions at various points in the life of the photographic image.

But of equal measure is her presence in galleries with edgy and respected programs; she shows with Foxy Production and Cooper Cole, and in September, her seductive images of presidential busts (a series of Avon cologne bottles, scored on eBay) brought New Yorkers upstate for her solo exhibition at the popular Hudson outpost of Zach Feuer and Joel Mesler, Retrospective Gallery.

The complexity of these paintings, their embrace of ambiguity and detachment, is at odds with the prevailing shift towards the iconic, the graphic and the sensational in contemporary image production, and is among the reasons that Tuymans is revered by his peers.