Sentences with phrase «into white neon»

The words «Wednesday Night» are twisted into white neon tubing against a blue background.

Not exact matches

Wearing thin gray sweats and a white COSS ATHLETICS tee, Coss talks quietly, heavily, with some of the dozen students, most of them white and wearing nice workout clothes, the 20 - something girls wearing their hair and makeup just right, and their outfits mixed and matched into perfect neon ensembles, ready for this cool new workout they've been hearing about.

Here is what you should avoid: • Loud prints • Bold slogans • Skinny jeans • Leggings • Baggy clothing • Anything with a hood • Jeans or leggings tucked into knee length boots • Bright colours • Neon colours • Trainers • Bomber jackets Here is a list of items that are perfect if you want to look older and smarter when dressing, or if you simply don't want to be mistaken for a teenager: • Straight leg or bootleg jeans • Ankle boots • A tailored style handbag • Cardigans with delicate button detail • Pointed toe shoes • Rich, more expensive looking colours, such as burgundy, light grey, cream, black and white.

Take a trip into the future with Prada's alien - like sock sneakers that come in a neon green but can also be found in a more minimal white.

It was pretty warm that day, so I changed into a short black skirt I picked up at a thrift store in San Francisco, and paired it with a white peplum tank, bright neon necklace and neon sandals.

A little different from the brights (neon yellow, tangerine & colbolt blue) and the lights (white, blush & lavender) of S / S, this colour is making a dramatic statement and stepping confidently into what has been a vibrant colour mix for so long.

There are his famous stacking tables, rectangles within rectangles; a square bookcase made from boards that hold together like the pieces of a Chinese puzzle; and a cuboid light fitting in which each of the 12 edges is a white neon tube, while the eight corners, into which the tubes slot, are blank black dice.

Playboy Makes Foray Into Art — Richard Phillips's Playboy Marfa, a sculptural installation made up of a white neon Playboy sign and a Dodge Charger titled at an 18 - degree angle, is now on view on the roadside of Highway 96 in Marfa, Texas.

Three vast discs in bright white neon recreate the forms of Duchamp's original into three - dimensional and multi-dimensional objects.

Instead of human - machine interactions and a viewing pace hinged on proximity, here the dramatic encounter of two megaphones from opposite side of a hanging rail gradually approaching each other singing a duet of female and male voices and causing a pile of neon tubes to flare and extinguish until the two megaphones come to a stand - off midway, exploding into a thundering abstraction and dazzlingly white light as if the harmony is pixelated into fragments of destruction.

a bright white surface transitions into darkness through the destruction of neon tubes, which only then make the light sources discernable («strips (vertical)»).

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

This performance extended outside the confines of the structure into the wider gallery space, containing wall - based neon sculptures of a muscular faun, black and white photographs of a naked couple in choreographed poses, text - based brightly coloured paintings, and abstract sculptures reminiscent of limbs, rendered in concrete and highly polished white plaster.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.