Sentences with phrase «marked by photographs»
The project memorializes my year at HGSE marked by photographs of me standing on my head in places of personal significance in the Harvard area.
https://www.gse.harvard.edu/ Not exact matches
The two - page document, marked «Top Secret,» mentions a draft decision paper that focuses on the «relative merits of retaining [deleted in document] as a high - priority secret national security installation versus the merits of the NASA belief that there would be domestic and foreign problems created by withholding the photograph.»
SPOTLIGHT, from left: Rachel McAdams, Mark Ruffalo, Brian d'Arcy James, Michael Keaton, John Slattery, Photograph by Kerry Hayes — Open Road Films / Everett Collection
Nick Bourne AM is pictured with David Cameron on the day after this year's European Elections when the Conservatives topped the poll across Wales (Photograph by Mark Jones).
Photograph by Mark Mirko [email protected]
A zealous and ebullient poster on Twitter, Ms. Mark - Viverito began her remarks by photographing the audience and posting the image on social media.
Photograph by Mark Mirko mark@markmirko.com
The timbers stay there, protected by the water until a lab tech is able to clean, photograph and digitally measure them, noting the size, shape and placement of every nail, tool mark or glob of pitch.
The Rarest of the Rare: Stories Behind the Treasures at the Harvard Museum of Natural History Text by Nancy Pick, photographs by Mark Sloan (HarperCollins, $ 22.95)
To mark the 175th anniversary of photojournalism, the editors of TIME magazine (which is owned by Health's parent company, Time Inc.) worked with an international team of curators, historians, and photographers to carefully select the photos published in 100 Photographs: The Most Influential Images of All Time ($ 25; amazon.com).
Follow Mark D. Sikes» personal Instagram and you'll understand exactly why he's so enamored with blue and white stripes - it's filled with nostalgic photographs of the pattern being worn by the shores of the Riviera.
The shoot was photographed by Sharif Hamza, Mark Segal, Kacper Kasprzyk and Benjamin Alexander Huseby — each of whom shot an official cover for the issue.
One fashion editorial, photographed by Harley Weir and styled by Jane How, is entirely styled with clothes sourced from charity shops below the $ 57 mark.
Free one - day membership for both men and women, allowing you to try all the site's features • Men's income, profession and photographs are marked with a seal as verified by WealthyMen.com if the appropriate information is provided to the site
The story also featured photos of the characters — marking what seems to be the first photographs of Quicksilver and Scarlet Witch to be released, or at least approved, by Marvel Studios (previous shots have come into the public, but they were taken by photojournalists and paparazzi on the set of the movie)
Written and Directed by Amy Seimetz Produced by Amy Seimetz and Kim Sherman Executive produced by Timothy Fargo, Andrew Krucoff, Mark Reeb and Shane Carruth Photographed by Jay Keitel Edited by David Lowery Original Score by Ben Lovett
Shot for $ 1.5 million over 30 days, Laughlin's film, while heavy on extended takes and a few awkward edits, overall looks very nice, and Elite's transfer marks the first time the film's been available with its original, evocative Technicolor - styled cinematography by Louis Horvath (who also photographed «Chandler,» and Laughlin's other directorial efforts); and in its original aspect ratio, which, in previous full screen versions, chopped Condon's second appearance as a «dead kid».
readings Film as Film: The Collected Writings of Gregory J. Markopoulos edited by Mark Webber, reviewed by Tony Pipolo; «It's the Pictures That Got Small»: Charles Brackett on Billy Wilder and Hollywood's Golden Age edited by Anthony Slide, reviewed by James Hughes; On Set with John Carpenter: The Photographs of Kim Gottlieb - Walker by Kim Gottlieb - Walker, reviewed by R. Emmet Sweeney; Terence Davies by Michael Koresky, reviewed by Steven Mears
Impeccably staged, crisply photographed, and buoyed by eclectic soundtrack choices (Petula Clark, Mark Lanegan), this maritime psychodrama becomes both funnier and richer in its implications as it progresses.
Directed by Tony Scott; written by Shane Black; photographed by Ward Russell; production designed by Brian Morris; edited by Mark Goldblatt and Mark Helfrich; music by Michael Kamen; produced by Joel Silver and Michael Levy.
It's incredible to think that there was a time that a film which was directed by Mark Rydell, starred James Caan, Elliot Gould, Diane Keaton, and Michael Caine, was photographed by László Kovács, contained a musical score by David Shire, and was released by Columbia Pictures, still wound up being a total failure.
Photograph is of Smithsonian's National Air and Space Museum and was taken by Mark Avino.
Judge's Eye View — Nick Georgano's photographs of the European Concours d'Elegance / Lotus Blossoms — Anthony Pritchard relates how the Lotus Mark VIII set Colin Chapman on the road to success / Austin Healey Sprite — Buyer's Guide / Austin Seven Ulster Rebuild / Pasquino's Little Gems — David Tarallo recalls the postwar Fiat - based sports - racing cars built by Pasquale Ermini / Closed Circuit Centenary — The 1902 Circuit des Ardennes was the first large scale motor race of its kind to be run over a closed circuit.
Photographs by the author and Duncan Saunders / Model T Challenge — David Burgess-Wise reports on an effective way of marking Ford's centenary.
Photographs by Steve Welsh / Charles Rolls: 100 Years On — As we mark 100 years from Charles Rolls's death on 12th July, 1910, a clearer picture comes into focus of his achievements and what might have been had he survived.
Albrecht Goertz's gorgeous 503 could not have come at a worse time for BMW, as Douglas Blain explains in Drama Queen / In 1966 and All That, Steve Welsh reports from the unrivalled Goodwood Revival historic race meeting, which this year marked 50 years since Australian driver Jack Brabham won the Formula One World Championship in a car of his construction / Kit Foster tells the story of the American Underslung, the first American sports car, and examines one of the prized survivors of this pioneering but short - lived marque in Swing low, sweet chariot / In his article, Cross-Channel concours, Jörg Sierks chooses his favourites from two prestigious concours events, held on the same weekend on opposite sides of the English Channel / With the help of rarely seen archive photographs, D'Arcy Lever looks back at the highly effective trials specials built by Sydney Allard before World War Two.
The focus here is on railroads at night, a visual paradigm that has produced startling combinations of darkness and light photographs that look like film noir stills, marked by sparks, stars and smoke.
Their photographs were given to Mark by rescues and volunteers who were unable to save them, and want their spirit to be remembered and used for the greater good.
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Gray whale photographed off Namibia is first - ever documentation of species in Southern Hemisphere Lost and lonely whale could have entered Atlantic via Northwest Passage May 14, 2013 by Pete Thomas A gray whale has been spotted and photographed off Namibia, marking... Continue reading →
I started by marking out the basic outline in the photograph with a pencil, making sure the proportions and distances were correct.
By pairing the first - an abstract painting whose flat forms are schematic and derived from markings observed on a soccer field with the second - a silkscreened canvas depicting a nearly identical painting photographed at an angle, Uglow creates a visual experience charged with the potential of both abstraction and representation.
All About America represents six decades of photographs by this North Carolina native thus far, from iconic photos of Martin Luther King Jr.'s funeral, the Woodstock music festival, and anti-Vietnam War demonstrations to his later study of the social landscape of America from coast to coast.The result is a unique testimony to the stresses, contradictions, and joys that have marked Americans» modern lives.
Nai digitally merged versions of the photographs and found, by happy accident, water and dirt marks in the image arranging themselves in Rorschach's ink - blot - like patterns.
On view through 8 April, the exhibition includes photographs, drawings, and sculptures by Yuji Agematsu, Carl Andre, Bernd and Hilla Becher, Sophie Calle, Liz Deschenes, Isa Genzken, Eva Hesse, Roni Horn, On Kawara, Robert Kinmont, Louise Lawler, Zoe Leonard, Sherrie Levine, Sol LeWitt, Paul McCarthy, Roman Opalka, Andrea Robbins and Max Becher, August Sander, Karin Sander, Mira Schendel, Cindy Sherman, David Smith, Ian Wallace, and Mark Wallinger.
Gabriel Orozco's photograph Waiting Chairs (1998), looks at a void left behind by bodies, showing three chairs in a train station, stained by grease marks left by hair from the many bodies that have occupied the seats.
Featuring «What's Going On» by Barkley L. Hendricks on the cover, the catalog provides a visual journey through the period with documentary photographs and full - color images of art and ephemera, coupled with writings by Mark Godfrey and Zoe Whitley.
Produced in 2002 in conjunction with Attendants, Bears, and Rocks at Matthew Marks Gallery, New York (522 W 22 Street), this poster features a photograph by Bill Jacobson of Marden's Red Rocks, 2000 - 2002 in his New York City studio.
Joan Semmel looks like two different artists in the group show («Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver: Black and White Photographs 1975 — 77») curated by Robert Gober at Matthew Marks and in her jewel of a solo («Joan Semmel: Self - Images») at Mitchell Algus.
Her photographs document seemingly mundane events, as in «Marks Left by a Football» (2002), taken in Tangiers.
Marked by a spontaneity and creative curiosity, these intimate photographs offer an illuminating contrast to the carefully crafted and controlled studio images for which the artist subsequently became known.
Photograph by Dwayne Resnick, Courtesy of Mark McDonald.
Painted from historical photographs taken from old magazines, family albums and the propagandist publications distributed by the government during the Cultural Revolution, At a time of immense and rapid socio - economic change in China, these works look back at its past, marking a fragile line with delicate layers of ash between individual memory and official historical record.
Marking the culmination of a year - long celebration of photography at the museum, this installation brings together an exquisite group of gifts, ranging from innovative photographs made in the earliest years of the medium's history to key works by important 20th - century artists and contemporary pieces that examine the ways in which photography continues to shape our experience of the modern world.
Works will include photographs from the Red House series by Adam Broomberg and Oliver Chanarin, depicting the marks left behind by prisoners of Saddam Hussein in Iraq; wire and sculptural elements by Walter Oltmann and William Kentridge; installations by Jeremy Wafer, Jonah Sack and Justin Brett, as well as more traditional pencil, oil and charcoal drawings by Sue Williamson, Lisa Brice and Sam Nhlengethwa.
A number of significant benefit exhibitions followed: «Drawings, 1965,» simultaneously shown at Leo Castelli, Tibor De Nagy and Kornblee Galleries; a print exhibition at the Kornblee Gallery in 1967; the 1980 «Drawings» show; «Eight Lithographs,» published by Gemini G.E.L. in 1981, shown at Leo Castelli; the «25th Anniversary Exhibition,» jointly shown at Brooke Alexander and Leo Castelli in 1988; the «30th Anniversary Exhibition of Drawings» at Leo Castelli in 1993; «Prints» at Brooke Alexander in 1995; «Drawings & Photographs» at Matthew Marks Gallery in 2000; «Clarissa Dalrymple's Exhibition of Young Artists to Benefit the Foundation for Contemporary Arts» at Bortolami Dayan in February 2006, «Posters: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at Paula Cooper Gallery in December 2006, «Photographic Works: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at Cohan and Leslie in December 2008, «Painting and Sculpture: Works Donated by Artists to Benefit the Foundation for Contemporary Arts» at Lehmann Maupin in December 2010 and January 2011; «Artists for Artists: 51st Anniversary Exhibition to Benefit the Foundation for Contemporary Arts» at Matthew Marks Gallery in December 2014 and January 2015; and «65 Works Selected by James Welling: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at David Zwirner in December 2016 and January 2017.
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 Statoby 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 Statoby 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 Statoby 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 Statoby 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 Statoby 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 Statoby 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 StatoBy 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 Statoby 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 Statoby Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Statoby Sarah Staton)
Fences and glare mark an actual industrial wasteland in photographs by Christina McPhee, with something of the same combination of luxuriance and terror.
It's actually three shows in one: local artists Mark A. Fisher and Alison Ouellette - Kirby curated a group show from pinhole photographs submitted by national and local artists, and they also brought in works by nationally known pinhole artists Nancy Spencer and Eric Renner, along with original pinhole cameras and photographs by Alabama - based Pinky / MM Bass.
Stairway, St. Martin, Ellsworth Kelly, 1977: Marking the first photograph by Kelly to enter the BMA's collection, this gelatin silver print strengthens the BMA's substantial collection of works by Kelly.