Sentences with phrase «including images of objects»

The Smithsonian's National Museum of American History provides an illustrated overview of the country's business history, including images of objects and artifacts in the museum's collections.

Not exact matches

C. All information, content, services and software displayed on, transmitted through or used in connection with the Company web site, with the exception of User content as defined herein, including for example, news articles, reviews, directories, guides, text, photographs, images, illustrations, audio clips, video, html, source and object code, trademarks, logos, and the like, as well as its selection and arrangement, is owned by Company, except for those items that are copyrighted and / or owned by their respective businesses or individuals.

If the basic purpose of the study of man is defined by the image of man as the creature who becomes what only he can become through confronting reality with his whole being, then the specific branches of that study must also include an understanding of man in this way, and this means not only as an object, but also, to begin with, as a Thou.

Such rules include perspective (parallel lines appear to converge in the distance), stereopsis (our left and right eyes receive horizontally displaced images of the same object, resulting in the perception of depth), occlusion (objects near us occlude objects farther away), shading, chiaroscuro (the contrast of an object as a function of the position of the light source) and sfumato (the feeling of depth created by the interplay of in - and out - of - focus elements in an image as well as from the level of transparency of the atmosphere itself).

Throughout the competition, the underwater vehicles will also be tasked with creating high - res images of individual objects, including archeological, biological or geological features of the seafloor.

A new study shows that images of a meteor's streak through the atmosphere taken by Earth - gazing probes, including weather satellites, can pin down the object's orbit, enabling scientists to check and see whether another planet - threatening object is traveling in the same trajectory.

This includes the retinal images of normal objects.

Elsewhere in the image, we can look into Orion A's dark molecular clouds and spot many hidden treasures, including discs of material that could give birth to new stars (pre-stellar discs), nebulosity associated with newly - born stars (Herbig - Haro objects), smaller star clusters and even galaxy clusters lying far beyond the Milky Way.

We intend that this space will include not only objects, pieces of engineering, documents and images, but also large - scale projections of archive films; the stories of Jodrell Bank's role in the space race and discoveries out in space.

Other discoveries in the Milky Way detailed in the special edition include the sharpest image yet of a gamma ray source — a nearby supernova remnant — which will enable researchers to study this object at finer scale than before — and three new «gamma ray shells» that are possibly examples of a new type of supernova remnant.

The online exhibit includes original artifacts and art objects, original documents, and reproductions of historic documents and images from the New York Historical Society as well as other repositories.

Some of the features include overlay images, titles, pointers, quizzes (true - false or multiple - choice questions), links, embedded objects like pictures or videos, related articles and blogposts, labels and buttons and more.

AVAILABLE INTELLIGENT AROUND VIEW ® MONITOR -LSB-[2069]-RSB--LSB-[2070]-RSB- Several of the Pathfinder's competitors offer a camera system that provide a 360 degree composite image but only Nissan includes Moving Object Detection, which can provide visual and audible alerts if it detects something moving around the vehicle.

With the notable exceptions of The Oxford Companion to the Book (2010) and Bettley's The Art of the Book (2001), most literature in the fields of book history and topics concerning the history of writing and digital textuality, including studies of books as artistic objects and of the material page make no mention of comics at all, in spite of the fact they do refer to other forms of multimedia or text - and - image publications such as collage books and illustrated books.

This application offers a wide variety of image adjustments including fun picture editing effects, image collages and sketching to advanced photo tools such as working with layers and masks as well as complex object selections.

Most of the projects I work on include bullets, images, and other objects beyond plain text, so I've tried several options.

Some regular columns featured in The Onion include: «STATshot», a spoof on USAToday's Snapshots, InfoGraphic, a set of bullet points and an image that provides a humorous «map description» of a person or object.

Recently, Lim has expanded her practice to include filmmaking, combining various avenues of interest — in material objects and immaterial images, in cinema and literature — to a singular point of convergence.

In keeping with his thorough investigation into image and reflection, the exhibition will include some of these objects, together with four paintings from the series Self Portrait with Skull Hat.

After a two - week trial, a jury ultimately decided that the work, which included images of a man with various objects inserted into his rectum, met the criteria for serious art.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

At the time, he was creating prevalently images of popular superheroes and gradually started to include female nudes emerging from bizarre objects, such as cornstalks, bananas, candy wrappers, martini glasses or famous cigar and cigarette brands such as Havana.

Working across various media — including drawing, painting, collage, printmaking, sculpture, architecture and industrial design — Frezza and Chiao craft images, objects and spaces that question our experience of the lived environment.

Frank has also organized numerous theme and survey shows, including «Driven to Abstraction: Southern California and the Non-Objective World, 1950 - 1980,» for the Riverside Art Museum; «Artists» Books U.S.A.», «Mapped Art: Charts, Routes, Regions» and «Line and Image: The Northern Sensibility in Recent European Drawing», all for Independent Curators Inc.; «Fluxus Film and Video» for the Museo Reina Sofia in Madrid; «Young Fluxus» for Artists» Space in New York; «To the Astonishing Horizon» for Los Angeles Visual Arts; «Southern Abstraction» for the Raleigh (NC) City Gallery of Contemporary Art; «The Theater of the Object, 1958 ‑ 1972» for New York's Alternative Museum; «Visual Poetry» for the Otis / Parsons Art Institute in Los Angeles; «Multiple World» for the Atlanta College of Art; and, most notably, «19 Artists — Emergent Americans,» the 1981 Exxon National Exhibition mounted at the Guggenheim Museum.

The three «still life» assemblages of chrome objects included in the THE SPECULATIVE GAZE embody a similar duality of material lust and a sort of moral hesitance; as dimensional «vanitas» images they contain a network of objects and their attendant associations, raising a critique of contemporary consumerism and economic insatiability through this material dialogue.

Previous solo and group exhibitions include: Situations, You Space and Extra Space, Shenzhen (2018); Documenta 14, Athens and Kassel (2017); Shut Up and Paint, National Gallery of Victoria, Melbourne (2016); Cher (e) s Ami (e) s, Centre Pompidou, Paris (2016); The Same Old Fucking Story, Rodeo, London (2016); Tightrope Walk: Painted Images After Abstraction, White Cube, London (2015); Unrealism, The Moore Building, Miami (2015); Burning Down the House, 10th Gwangju Biennale, Gwangju (2014); This is Not my Beautiful House, Kunsthalle Athena, Athens (2014); Everyday a Stage, Rodeo, Istanbul (2014); System of Objects, DESTE Foundation, Athens (2013); Apostolos Georgiou.

Addendum begins to do just that by including, ad hoc, additional images, objects, gestures and performance that provide a more complete representation of many of the artists that made up the,,, exhibition, while simultaneously further problematizing the original survey.

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 reobjects, 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 reObjects 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 reobjects 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.

Besides, the show holds one hundred and twenty objects as it is, and the Studio Museum in Harlem extends it with the entirety of a recent series including images of the South, in strikingly large prints as well.

Although her early work was in sculpture, she was better known for her multimedia pop culture assemblages of found objects and her paintings, which included found images.

Doubling as installations, his sculptures incorporate images of nature and found objects including rocks and house plants to create literal portals into nature against the gallery walls.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Prominent group exhibitions include: Accrochage at Punta della Dogana, Pinault Foundation, Venice and Cher (e) s Ami (e) s at Centre Pompidou, Paris (2016); Walter Benjamin: Exilic Archive, Tel Aviv Museum, Tel Aviv (2015); Take It or Leave It: Institution, Image, Ideology, Hammer Museum, Los Angeles (2014); Ileana Sonnabend: Ambassador for the New, The Museum of Modern Art, New York (2013 - 2014); Surrealism and the Object, Centre Georges Pompidou, Paris (2013 - 2014); This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art Chicago (2012); Venice Biennale (1997) and documenta IX, Kassel Germany (1992).

Dena Yago's flatbed scanner images, including high resolution capture of lemons, apples or copies of The New York Times, have a clear dialogue with Smith's Xeroxes in that they also employ the tools and objects readily available to the artist in her working environment.

Exhibitions she organized include Realisms, the second part of The Cinema Effect: Reality, Illusion, and the Moving Image (2008); Refract, Reflect, Project: Light Works from the Collection (2007); and The Uncertainty of Objects and Ideas: Recent Sculpture (2006) as well as solo presentations with Terence Gower, Amy Sillman, and Jim Lambie.

Principally drawn from materials gathered in Japan in the 1890s by Edmund Buckley, a professor of Comparative Religion at the University of Chicago, this exhibition included prints and photographic views of temples and cities, as well as images of religious objects, ceremonies, and deities.

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

Working with photography as an expanded field, Jason Lazarus will trace multiple projects that rely on found images and text, including his installation T.H.T.K. (Rochester), on view in A Matter of Memory: Photography as Object in the Digital Age.

His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects infused with abstract images and -LSB-...]

Included art objects will be a bulletin board that charts quotations and images of the Biospherans and visionaries of the project, a number of small gouaches from photographs taken by the artist of areas surrounding the Biosphere that have fallen derelict, a video tour of Biosphere2, portraits of the male visionaries (John Allen, Ed Bass, and Buckminster Fuller) of Biosphere2, and a multi-panel stenciled quote from Buckminster Fuller that encapsulates the contradictions inherent in a project that is the product of a single mind imposing its will upon a group:

His practice manifests itself in various forms, including paintings, unique photographs of paintings, found objects which he infuses with abstract images, various multiples plus limited edition CD and 12 ˝ poly - carbonate recordings of impromptu performances he has been involved with or heavily orchestrated.

Much of Hong Hao's work features assembled scanned images of various found objects including maps, books, tickets, receipts, banknotes, food, and containers.

All camera formats utilized, and include digital images, 35 mm slides, 4x5 transparencies and portfolio prints of collections including: paintings, works on paper, artist's books, sculpture, installation and performance pieces, furniture, ceramics, jewelry and crafts, architecture, period interiors, decorative fine art, objects, rare books, manuscripts etc. as well as period gardens and landscapes.

The Help examines the roles of the artist, the muse and the «help,» mixing found objects with abstract forms; Incidents of Travel in Yucatan is a mixed - media installation including a wall of pedestals, autonomous sculptures and video; and the Sunset Series comprises 31 photographs of a single source image, a photograph of a sunset.

To this end, Picture Industry includes images and objects from a number of historical moments and social arenas arranged into a cohesive but varied array of historical positions, which prefigure our complex contemporary image world.

Exhibiting such works alongside Fontana's pieces and objects by Manzoni (which include Artist's Shit and the Lines first exhibited at Azimut), reinforce the exploration of image, artwork and object undertaken by Azimut / h's founders.

Each appropriated piece offers it's own course in which to channel history, precipitating new stories through a range of alternative processes including wet plate collodion, silver gelatin prints, image transfers on film, collage, and 3 - D mixed media objects.

Drawing on a wealth of concepts and subjects from the atomic and the cosmic, geometry and optics, to time, rotation and visual perception, Seeing Round Corners will also include a selection of objects and images from world cultures, religions and history such as scientific instruments, technological images and works from spiritual and mystical traditions.

Other works in the collection include an important series from the 1980s entitled Concentric Bearings which explores different images of objects turning in space.

Concept / Image / Object: Recent Gifts for the Lannan Foundation, Department of Prints and Drawings, Kovler Gallery, The Art Institute of Chicago, December 6, 1997 — May 7, 1998 From the Collection of Trustees and Friends of Roanoke College, Olin Gallery, Roanoke College, Salem, Virginia, October 26 — November 21, 1997 Thresholds: Limits of Perception, Curated by Denis Pelli and Ana Maria Torres, Eighth Floor Gallery, New York, October 14 — 25, 1997 (Included a day - long symposium, Theories of Vision, on October 17 at the New York University Cantor Film Center.)