Sentences with phrase «in a blurred photograph»

Not exact matches

I particularly love how Kermit's collar layers over the Variety cover title type... (photograph via coverjunkie) Somehow the entire month of March passed in one blur.

Entrant hereby releases, discharges, and agrees to release and hold harmless SEMA, its agents, representatives, affiliates, successors, and assigns from any liability, including, without limitation, any claims for libel, slander, or invasion of privacy, incurred by virtue of any blurring, distortion, alteration, optical illusion, or use in composite form, whether intentional or otherwise, that may occur in any works incorporating Entrant's name, voice, signature, photograph, or likeness, or in any reproductions thereof, as well as in any subsequent processing, broadcast or publication thereof.

LCD Response Time and Motion Blur An in - depth scientific comparison and analysis of eight mid-line to top - of - the - line LCD TVs with 60 Hz and 120 Hz screen refresh rates, LED backlight strobing and motion enhancement processing using moving test patterns, moving photographs, and full live video.

In the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened — paradoxically reproducing photographic effects and revealing his painterly hanIn the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened — paradoxically reproducing photographic effects and revealing his painterly hanin a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened — paradoxically reproducing photographic effects and revealing his painterly hanin which portions of his compositions appear smeared or softened — paradoxically reproducing photographic effects and revealing his painterly hand.

Guild Hall opens its 2017 summer exhibition season with «Taryn Simon: The Innocents,» an exhibition that explores photograph's role as witness and tool in blurring the line between truth and fiction.

Featuring interior shots of vacated homes, as well as exterior photographs of the buildings and desolate landscapes, there is a haunted quality to this work in which Hernandez deliberately blurs the line between absence and presence, the visible and invisible.

In one series, for example, Richter painted meticulous renditions of photographs, including blurred elements, faithfully portraying and emphasizing the concealed aspects of the original print.

The very first photograph taken by Woodman, Self - portrait at Thirteen, 1972, shows the artist sitting at the end of a sofa in an un-indentified space, wearing an oversized jumper and jeans, arm loosely hanging on the armrest, her face obscured by a curtain of hair and the foreground blurred by sudden movement, one hand holding a cable linked to the camera.

Both the meaning of the objects as well as the formal elements are blurred when revealed only in a photograph — the recreation of these objects encourages us to re-examine our perception.

When Twombly photographs a lemon, they become unrecognizable and yet deeply sensuous textures, just pure texture or shadow in their blurring.

But what is different in these late photographs is the way in which he can blur and dwell on a detail until it becomes quite luminous and strange.

In the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened - paradoxically reproducing photographic effects and revealing his painterly hanIn the early 1960s, Richter began to create large - scale photorealist copies of black - and - white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened - paradoxically reproducing photographic effects and revealing his painterly hanin a range of grays, and innovated a blurred effect (sometimes deemed «photographic impressionism») in which portions of his compositions appear smeared or softened - paradoxically reproducing photographic effects and revealing his painterly hanin which portions of his compositions appear smeared or softened - paradoxically reproducing photographic effects and revealing his painterly hand.

Galleries in Chelsea, Downtown, Uptown and Brooklyn are presenting solo exhibitions, a feminist filmmaker's photographs chronicling her experience, landscapes reduced to basic forms and paintings that blur conventions in both subject matter and medium.

Klein's career has been devoted to photographing and filming myriad people in his vivid New York and Paris crowd scenes, motion - blurred street photography and boisterous satirical fashion films.

The very first photograph taken by Woodman, Self - portrait at Thirteen (1972), shows the artist sitting at the end of a sofa in an un-indentified space, wearing a oversized jumper and jeans, arm loosely hanging on the armrest, her face obscured by a curtain of hair and the foreground blurred by sudden movement, one hand holding a cable linked to the camera.

Alfred Hitchcock, for example, leaned toward character - based films and in Shulman's finished photograph for Rear Window, the outline of James Stewart sitting in his chair is mixed into the blurred colors of the image.

Diane Arbus's photograph Clouds on - screen at a drive - in movie, N.J. (1960), for example, blurs the line between the mundane and the transcendent with its image of a billowing cloud on the movie screen against the evening sky.

The raw and flawed, artless, aesthetic of Prouvost's visuals echo the motto of Prouvost & Sons Ltd., which is, «we promote imperfection» and bring to mind a statement by the critic and commentator, Pavel Buchler in his book «Ghost Stories» where he writes, «to produce a blurred photograph has come to be seen as the exclusive right of the professional, even a sure sign of the professional mandate, whereas the same blurred image taken by the lay photographer implies a «human error».»

In 1963 he began using images from press photographs and amateur snapshots in his paintings, deliberately blurring them in order to undermine and challenge the boundaries of painting and photographIn 1963 he began using images from press photographs and amateur snapshots in his paintings, deliberately blurring them in order to undermine and challenge the boundaries of painting and photographin his paintings, deliberately blurring them in order to undermine and challenge the boundaries of painting and photographin order to undermine and challenge the boundaries of painting and photography.

In 1963 he began using images from press photographs and amateur snapshots in his paintings, deliberately blurring them in order to undermine and challenge the boundaries.In 1963 he began using images from press photographs and amateur snapshots in his paintings, deliberately blurring them in order to undermine and challenge the boundaries.in his paintings, deliberately blurring them in order to undermine and challenge the boundaries.in order to undermine and challenge the boundaries...

Diane Arbus's photograph Clouds on a Screen at a Drive - in, N.J. (1960), for example, blurs the line between the mundane and the transcendent with its image of a billowing cloud on the movie screen against the evening sky.

Using photographs of the trash in his studio, Lefcourt's process - oriented and varied practice blurs the divide between abstraction and representation, often capturing the nuances of both.

Andy Warhol's silk screens, Gerhard Richter's blurred images, Vija Celmins» hyperrealism: some of the most influential developments in the history of contemporary art hinge on the use of photographs as source material.

In his composite photograph Every Page of Roland Barthes's Book Camera Lucida (2004), Idris Khan has presented the book as a blackened palimpsest, its famous images mere blurred phantoms among illegible lines of text.

His paintings and digital prints blur cultural boundaries, with Kito finding inspiration in old photographs, scientific drawings and maps.

His painting «Alp on a White Background», which looks very much like a blurred photograph, portrays a person who seems to be a woman, but the name «Alp» in the title suggests the opposite.

Leigh Bowery (photographed by Fergus Greer) and Lynn Hershman Leeson actually inhabit these fictional characters in real time, blurring the line between the real and the imaginary.

In the large photograph unscharfer Rückenakt (Out - of - Focus Nude Back), 1994, the slightly blurred contours of the naked male body possess a painterly quality reminiscent of Gerhard Richter's works; it is only at second glance that a vulnerability evoking life at the margins of conventional society becomes evident in this image of a kneeling man with dirty feet, who is seen from above and contained in a narrow pictorial spacIn the large photograph unscharfer Rückenakt (Out - of - Focus Nude Back), 1994, the slightly blurred contours of the naked male body possess a painterly quality reminiscent of Gerhard Richter's works; it is only at second glance that a vulnerability evoking life at the margins of conventional society becomes evident in this image of a kneeling man with dirty feet, who is seen from above and contained in a narrow pictorial spacin this image of a kneeling man with dirty feet, who is seen from above and contained in a narrow pictorial spacin a narrow pictorial space.

The image of the buildings ablaze recurs throughout, whether in Mounir Fatmi's black sculpture of the Manhattan skyline made from VHS cassettes, or Gerhard Richter's blurred digital print that could have been photographed though the ash - smeared window of a nearby building.

A short text by Robert Storr illuminates Richter's 1966 painting «Familie im Schnee» (Family in the Snow), which, copied from a photograph, exemplifies Richter's characteristic blurred brushwork.

Casebere creates two - dimensional representations of three - dimensional models that he builds in his studio and photographs using evocative lighting and suggestive angles to create worlds that blur fact and fiction.

The ethereal effect produced by this negative image is increased by the blurred quality of the subject in the foreground — a result of his minute, involuntary movements during the photograph's long exposure.

The booth unites three of Woodman's rare color photographs, including one of the artist in a bathtub, the black - and - white tiled floor beautifully juxtaposing her blurred body, with a couple dozen of Pessoa's earthy sculptures.

Calling into question the assumption of factual evidence in photographs, his Soucoupe volante (Flying saucer) series features blurred UFOs at various locations across France.

In a blurring of authorship, Labatte creates these images with her assistants and includes their first names parenthetically in the individual photographs» titleIn a blurring of authorship, Labatte creates these images with her assistants and includes their first names parenthetically in the individual photographs» titlein the individual photographs» titles.

Through her use of different lenses, cropping, and blurring, Opie's photographs explore the boundaries of Adams» well - known vistas through her own compositions that focus or distort the viewer's perspective in reconsideration of the confluence of art, geographic, political, and natural history represented when documenting national parks.

Richter's abstract paintings relate to a series of works in which he paints images from photographs but blurs them slightly to remove the focus from their composition and subject matter.

In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picturIn his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picturin a picture.

Thirty - five years later, in a new series of photographs after Walker Evans, Sherrie Levine returns to the earlier project, however, this time the lines between object and image, ownership and authorship are even further blurred.

These photographs reveal the complex rdelationship between art and the space in which it is presented, lifting a curtain on a provisional environment where institutional hierarchy is missing or turned upside down; where the division between art and the circumstances of its presentation is blurred; and where the installation processes themselves are aestheticized.

Matthew Pillsbury (MFA 2004 Photography, Video and Related Media) Photographer; represented by Bonni Benrubi Gallery, NYC, Jackson Fine Art, Atlanta, and Douglas Udell Gallery, Vancouver; monograph Matthew Pillsbury: City Stages Photographs from 2002 to 2013 published by Aperture (2013); featured in New York Times Photographs published by Aperture and The New York Times; included in permanent collections of the Sir Elton John Photography Collection, Atlanta, The Museum of Modern Art, Whitney Museum of American Art, Guggenheim Museum, Brooklyn Art Museum, all NYC, Museum of Fine Art, Boston, San Francisco Museum of Modern Art, San Francisco, Minneapolis Institute of Arts, Minneapolis, Musée du Louvre, Paris, and the Tate Modern, London, among others; awarded gold and silver medals in Society of Publication Designers» 47th Annual Design Competition (2012); awarded the Prix HSBC pour la Photographie (2007); Photo District News magazine's Top 30 Photographers (2005); featured in The New York Times Magazine «A Country in Bloom» (2014), Photograph Magazine «Nate and Me» (2014), and The New York Times «The Blur of Life» (2013); recipient of a 2014 Guggenheim fellowship.

This exhibition includes text - based works, graphic elements, woven fabrics and collages of newspaper photographs that collectively blur the systematic with the haphazard in which meaning is layered and elusive.

The artist creates fragile paper sculptures, which are then temporarily balanced and then photographed at the point of collapse, capturing the millisecond of the work's stability and enabling the viewer a sustained view of the ephemeral, resulting in colourful abstract images blurring the boundaries between painting and photography.

Part of the unconventional beauty of Ketuta Alexi - Meskhishvili's photographs lies in their blurring of the boundary between medium and motif; her approach to representation is intimately bound up with the inherent characteristics of the photographic medium.

Its optical image stabilisation feature helps you capture blur - free photographs and videos in all light conditions.

For instance, there's a «blur» mode which (in theory) creates photographs with a subject in focus and a background that's blurry.

Using a slider, you have the facility to add a bokeh effect to your photograph either while you're shooting it or in post-production; however, the tool has a long way to go before it's perfect, as it regularly blurs the edges of the subject — so if you're going to use it, best stick to photographing people.

If you want to photograph a sports game, for example, you'll need to use a fast shutter speed in order to reduce motion blur.