Sentences with phrase «old images of past»

I truly love getting lost in these old images of past decades, it's super interesting to me.

Not exact matches

In the past week, after Microsoft announced the 32 - year - old appwould be would «deprecated» (which came with Windows 1.0 way back when and allows you to make simple image edits), users responded with what the Redmond giant called an «outpouring» of support.

New app called Pivot will let gadget users see old and new images of sites as they walk past.

So, instead of standing on a chair awkwardly in my extremely dark and stormy kitchen, taking way too many blurry pics, I spent my time conquering several other never - ending blog chores, such as revamping old recipes, creating pinnable images for those recipes, commenting on fellow blogger's recipe posts, answering emails, and deciding on what this week's «Mid-Week Past Recipe Revisit» would be.

What's interesting about the Days of Future Past teaser screened at Comic - Con and the leaked image (see above) of older Wolverine is that both emphasize how Logan is now aging, clearly a result of the events of The Wolverine where the character not only loses his adamantium claws, but part of his ability to heal, meaning he now ages at a much faster rate.

In the past year, almost one - fifth of 12 to 15 - year - olds encountered something online that they «found worrying or nasty in some way» and 64 per cent of 13 to 17 - year - olds have seen images or videos offensive to a particular group.

It is not the old image of what Dodge was in the past.

With its lantern - lighted canals and silent, narrow streets lined with decades - old ornate temples and shop houses, few places in Southeast Asia conjure romantic images of the past as effectively as Malacca, Malaysia's oldest city.

Their work over the past year has included erotic artbook images with the smutty bits sandpapered out, exploring the commodification of art through the medium of dance, telling circuitous personal stories live to an appreciative but perhaps baffled audience and, for the more old school - minded, screen printing.

The Baltic gallery has a coup with this terrific survey, filling two enormous floors of the old flourmill with work from the past five years, including large paintings and sculptures that seem to materialise out of them like three - dimensional images.

over an older video of herself, blurring the line between documentary and performance while also making it difficult to tell which image of the artist is present, which is past, and which of these is therefore truly performing.

Humanism and Technology, The Human Figure in Industrial Society, 600 Seoul International Art Festival, National Museum of Contemporary Art, Seoul, December 16, 1994 — January 14, 1995 (Catalogue) Prints and Process, Old Dominion University, Norfolk, Virginia, October 1994 Democratic Vistas: 150 Years of American Art from Regional Collections, University Art Museum, University at Albany, New York, September 24 — November 13, 1994 (Catalogue) Master Prints from the Collection of The Butler Institute of American Art, The Butler Institute of American Art, Youngstown, Ohio, September 9 — October 19, 1994 Visible Means of Support, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, June — November 1994 Against All Odds: The Healing Powers of Art, The Ueno Royal Museum and the Hakone Open Air Museum, Japan, June 9 — July 30, 1994 A Floor in a Building in Brooklyn, Richard Anderson Gallery, New York, June 9 — July 30, 1994 (Curated by Chuck Close) The Assertive Image: Artists of the Eighties, Selections from the Eli Broad Family Foundation, UCLA, University of California, Los Angeles, June 6 — October 9, 1994 From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C., May 29 — November 27, 1994 (Catalogue) Facing the Past: Nineteenth — Century Portrait from the Collection of the Pennsylvania Academy of the Fine Arts and Confronting the Present, The Frick Art and Historical Center, Pittsburgh, May 27 — June 24, 1994 Inaugural Group Exhibition, Off Shore Gallery, East Hampton, New York, May 14 — June 13, 1994 30 YEARS ---- Art in the Present Tense: The Aldrich's Curatorial History 1964 — 1994, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, May 15 — September 17, 1994 (Catalogue) Face - Off: The Portrait in Recent Art, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, September 9 — October 30, 1994.

Presented in the square crop format that has dominated his work in recent series, and taken over the past decade, the images in America by Car are among Friedlander's finest, full of virtuoso freshness and clarity, while also revisiting themes from older bodies of work.

At a time when the so - called New Image Painters — Baselitz, Schnabel and co — were reviving interest in neo-expressionist painting, the existential cruelty of Titian's painting, in which a satyr is skinned alive, seemed like a message from the past, telling us that the truly great artist can not so much transcend the infirmities of old age — failing eyesight and diminished muscular control — as turn them into an aspect of genius, in works that strip back to the essence of things, and which can communicate to any age.

Then as our community moves progressively forward, we can all still be relieved to know that Miami is still on its way to transcending its past as just another dumbed down tourist destination — promoting that less thoughtful decaying visual aroma that we still get a whiff of now and then... that kind of old Miami putrid commercialized smell that turned so many despondent and sour and caused the international arts communities to view Miami's indifference to an international discourse as but a memory, constantly recuperating the South Florida pastiche... a past that if you need reminding of you need only take a trip to Key West to know what kind of image Miami is still fighting against — the land built on coral and swamp, but filled with cheap and shallow tawdriness, like acid in your contemporary, progressive face, eyes of mundane kitschy campiness saddening and maddening, dumbed down affection that solicits and sells itself to another kind of cultural neanderthal — the accidental drunken tourist who seeks passive mediocrity and the same in other kindred spirits -LSB-.]

Polly Yates culls old photographs from flea markets around Berlin and cuts and weaves abstract forms that force the viewer to come closer and view a fragmented shape interwoven with what once was the representational image of a time long past.

There are outfits that convey the image of I am an old fashioned guy or girl at age 35, and statements you can make at 50 and even 60 that say I am passionate about living in the here and now and not dwelling on the past.