Sentences with phrase «out of the image frame»

Originally shot in film it shows a sequence of pigeons flying in and out of the image frame; sometimes perched on its bottom edge for a moment, only to be pushed off by another bird; sometimes hurled into the white background.

Not exact matches

Such action makes the brain produce sensations and mental images, and out of the sensations and images the higher forms of thought and knowledge in their turn are framed.

We've been intent on losing the fixed frame of the photograph, enabling the viewer to focus on particular objects or figures that they single out within the depths of the image.»

«This image is beautiful and harrowing at the same time,» says Wolf, who deliberately left the sky and ground out of frame to create the illusion of indeterminable size.

A cool aspect of this track is that it points out opportunities for freeze - framing the image and recognizing barely glimpsed animated characters, and it also tells you when and where each character first appeared in cartoon history.

But Kaminski's no one - trick pony — he finds places to break out of the photographic scheme, be it a warmly candle - lit church scene (the depth and richness of the shadows are jaw - dropping) or that gorgeous, iconic shot of the men silhouetted against distant gunfire — you want to pause the image and put a frame around it.

Sourcing images for a book can be a difficult and frustrating process, but dedicating more space to quality photography and less to grainy, out - of - focus and poorly - framed owner - sourced shots (of some dubiously - modified vehicles at that) would undoubtedly have improved the look as you flip through the pages.

This full featured photo - editing application offers an array of filters, themes, frames, overlays, and tools to ensure you get the most out of your images to share with friends, family, and followers.

The most directly «finished» images, those Starling set out to make using the drawing of the original installation, are framed, matted, and glazed.

Here, Burgin continued his reorientation of photography from floor to wall, but rather than transform his pictures into precious prints, matted and framed, Burgin fixed his images to the gallery as a series of posters, pasting them straight to the wall (although not, as with Possession, out in the streets).

Sally has performed for major sound art and audiovisual festivals and venues including Tate Britain, Digital Culture Centre, Mexico City, Rotterdam International Film Festival, Sound of Stockholm, Fylkingen Festival, Sweden, BEAM: Brunel Electronic & Analogue Music Festival, London, Kraak, Belgium, Colour Out of Space, Brighton, Sonica, Slovenia, Open Frame, Brisbane, FlexFest, Florida, Supernormal, UK, Edinburgh International Film Festival, San Francisco Cinematheque, Abandon Normal Devices, Manchester, Oslo Cinemateket, Norway, and Australian Centre for the Moving Image.

Lambri's carefully composed and thought - out works evoke art - historical traditions of minimalism and abstract painting, and therefore, her images often display Modernist ideals of framing, abstraction, and transcendence.

The finished image is uncanny in its lack of optical perspective, and presents a strange contrast of uniformity and individuality: from afar, we admire the perfection of the neat, multicoloured grid, yet, as every point of the frame is in clear focus, we are able to walk up to the image and pick out individual curtain patterns and windowsill ornaments.

By playing with these aesthetic frames, he hopes to create liminal images that appear simultaneously dated, and out of time.

Here, the death of experience is re-enacted through the afterlife of images; multiple hallucinatory frames of reference played out in a perpetual cycle of ruin and regeneration.

Zooming in and out of focus, splitting images into units and using different modalities of time and motion, Emadi's installation reveals the inner activities of the frame — and provides experience «from a pixel's point of view.»

«Speaking out: Siting the Voice in Contemporary Asian Art», Courtauld Institute of Art and Kings College, University of London 2017 Conceptualism — Intersectional Readings, International Framings Conference, AHRC Black Artists and Modernism project in collaboration with Van Abbemuseum, NL, 7 - 9 December 2017 Trinh T Minh - ha Symposium, ICA London, 3 December 2017 Women in Collections Symposium, Contemporary Art Society / Sackler CPD Programme, Leeds City Art Gallery, 19 October 2017 Deviant Researching Symposium, part of Demodernising the Collection, Van Abbemuseum, NL, 21 - 23 September 2016 Now and Then, Here and There Conference, AHRC Black Artists and Modernism, Chelsea College of Art and Design, UAL / Clore auditorium, Tate Britain, 6 - 8 October 2016 Kung Fury: Contemporary Debates in Martial Arts Cinema Symposium, AHRC Martial Arts Studies Network, Birmingham City University, 1 April 2015 Martial Arts Studies Conference, with Luke White, Cardiff University, 10 - 12 June 2015 How to See the World Panel discussion & book launch, with Nicholas Mirzeoff, Jon Bird, Sonia Boyce, Nadja Milner - Larsen, ICA, London 4 June 2015 (In) Direct Speech: «Chineseness» in Contemporary Art Symposium, University of Lisbon, 16 - 19 March 2014 Thinking with Berger Conference, with Juliette Kristensen, Cardiff Metropolitan University, 4 - 5 September 2014 Mega Events & Culture: Arts & Artists Engagement in Events - based Regeneration, Resistance & Research Regional Studies Association, Research Seminar, Queen Elizabeth Olympic Park, London, 17 June 2014 Image — Movement — Story Conference, University of Roehampton, 14 June 2014 SPSL / A to Y Public Lecture, MAI (Montreal Arts Interculturels / University of Concordia, Montreal QC, 12 April 2013 Inter-Asian Connections IV Conference, in the strand «Contemporary Art and the Inter-Asian Imaginary», Koç University, Istanbul.

Best known for presenting herself as multiple people within a single image to frame a narrative, O'Donovan Cook plays both the man and woman in her Waldorf Series, three women in Trinity: The Ocean, all the performers in the dressing room in Webster, and a young woman enmeshed in vines and flowers growing out of her fingertips in The Dream.

Playfully framing the potential fact / fiction merger of the selection, two photographic images show the material of a padded cell from a psychiatric hospital in Inside Out and Outside In (both 1999).

Attached to the silver frame by bungees is an image of a cream or some pills with the word «extend» on the front and a plant coming out of the top, shrouded in a cloud of mystic visible pink aroma.

1981 Metropolis, Hamburg, DE Avantgarde / Retrospect, Westfalischer Kunstverein, Munster, DE In a Small Frame, Untersuchungsburo Karin Pabst fur Kunst und Kultur ab 1980, Munich, DE New York / New Wave, P.S. 1, Long Island City, New York, US Messages: Words and Images, Freedman Gallery, Albright College, Reading, Pennsylvania, US Artists» Books, Stedelijk Museum, Amsterdam, NL Il Gergo Inquieto, City of Genova, Genova, IT Westkunst, City of Cologne, Museen der Stadt Koln, DE Summer, Art & Project Gallery, Amsterdam, NL Benzine Magazine (layout), Summer / Fall issue, New York, US New Work, Anthony d'Offay, London, UK Book Show, Zone, Springfield, Massachusetts, US Chase Manhattan Bank Collection, University of Massachusetts, Amherst, Massachusetts, US; Robert Hall Fleming Museum, University of Vermont, Burlington, Vermont, US; David Winton Bell Gallery, Brown University, Providence, Rhode Island, US Soundings, Neuberger Museum, SUNY Purchase, New York, US Mail Art In / Out, Chez Francoise Guinochet, Paris, FR Artists» Books, Frankfurter Kunstverein, Frankfurt, DE No Title.

The objects in the image seem preternaturally still, pushed off to the left side of the frame: a liquefied elastic globule seems to pull down or just barely rest at the very corner of a marble slab, above it there is a chunk of what looks like concrete with rebar sticking erratically out of it that in turn appears to be floating upwards.

Unedited, the archive includes underexposed photographs, out - of - focus images, and blank frames that mark the days on which Floyd failed to take a photograph.

In the 1993 painting «Gold and Black No. 2,» the same yellow expands to a width of nearly 13 feet, framing a few shadowy tree trunks — a nearly abstract image that also points us out of the woods, toward the blinding openness just ahead.

Tracey Emin (b. 1963) Birds 2012 lithograph in blue, 2011, on wove paper, signed, dated and titled in pencil, numbered 233/300 (there were also thirty artist's proofs), published by Counter Editions, London, apparently in very good condition, unexamined out of the frame Image 645 x 490 mm., Sheet 760 x 601 mm.

This programme has been constructed in the awareness that style is less a question of stylistics than ethics, i.e. a way of keeping its subject at a distance, of including the out - of - frame as a dynamic produced by the viewer, of thinking not only about the production of images, but also about their distribution, and how they cohabit with other sources of images.

By appropriating different compositional angles, fleet brush strokes of wet paint on wet paint, and out - of - focus framing, Tuymans creates blurry and almost delusional images of faded memories.

Solo exhibitions 2018 «Alterity Line», Metro Pictures, New York 2017 «David Malikovic», Dvir Gallery, Tel Aviv 2016 «Vignettes», Annet Gelink Gallery, Amsterdam 2016 «Again and Again», Museum of Contemporary Art Metelkova, Ljubljana 2016 «AAASSEMBLAGE», Dvir Gallery, Brussels 2016 «All Day All Year», T293, Rome 2016 «The Exhibition is Becoming», VOX Centre de l'image contemporaine, Montreal 2015 «A Retrospective by Appointment», Gallery Nova, David Maljković's studio, Gallery of Croatian Designers» Association, Cinema Tuškanac and Croatian Film Association, Zagreb 2015 «With the gallery», Galleria Massimo Minini, Brescia 2015 «David Maljković», Metro Pictures, New York 2015 «David Maljković», Sprüth Magers, London 2015 «New Collection», Blondeau & CIE, Geneve 2015 «Negatives, with Konstantin Grcic, Centre d'édition contemporaine, Geneve 2014 «In Low Resolution», Palais de Tokyo, Paris 2014 «David Maljković», Georg Kargl Fine Arts, Vienna 2014 «David Maljković», Leal Rios Foundation, Lisbon 2014 «David Maljković», Kunstmuseum St.Gallen 2013 «Afterform», Annet Gelink Gallery, Amsterdam 2013 «New Reproductions», CAC Contemporary Art Centre, Vilnius 2013 «Sources in the Air», GAMeC, Bergamo 2013 Metro Pictures, New York 2013 «Sources in the Air», BALTIC Centre for Contemporary Art, Gateshead 2012 «Sources in the Air», Van Abbemuseum, Eindhoven 2012 «A Long Day for the Form», T293, Rome 2012 «A Long Day for the Form», Sprueth Magers, Berlin 2012 «Morgenlied» (w / Latifa Echakhch), Kunsthalle Basel 2012 «Scene, Hold, Ballast» (w / Lucy Skaer), Sculpture Center, New York 2011 «Recalling Frames», Metro Pictures, New York 2011 «La Casa Mila» (w / Rosa Barba), Loop Festival, Barcelona 2011 «Temporary Projections», Georg Kargl Fine Arts, Vienna 2011 «Images with their own shadows», Vjenceslav Richter Collection, Museum of Contemporary Art, Zagreb 2011 «Exhibitions for Secession», Wiener Secession, Vienna 2010 «Images with Their Own Shadows», Moderna Galerija, Ljubljana 2010 «Images with Their Own Shadows», International Festival of Contemporary Visual Art, Glasgow 2010 «Out of Projection», Art Unlimited, Art 41 Basel, Basel 2010 «Lost Cabinet», Nogueras Blanchard, Barcelona 2010 «Missing Colours», Annet Gelink, Amsterdam 2010 «Recalling Frames», Sprueth Magers, London 2010 «Retired Forms», Massimo Minini, Brescia 2009 «Retired Compositions», Metro Pictures, New York 2009 «Nothing Disappears without a Trace», ARCO, Madrid 2009 «After the Fair», Georg Kargl BOX, Vienna 2009 «David Maljković», Museo Nacional Centro de Arte Reina Sofia, Madrid 2009 «David Maljković», Fondazione Morra Greco, Naples 2009 «David Maljković», Sprueth Magers, Berlin 2008 «Handed Over» (w / Rosa Barba), Project Art Centre, Dublin 2008 «Lost Memories from These Days», Annet Gelink Gallery, Amsterdam 2008 «Lost Review», Le Plateau, Paris 2008 «David Maljković», Kunstverein Nurnberg, Nurnberg 2008 «Parallel Compositions», Bergen Kunsthall, Bergen 2008 «Shadow Should Not Exceed» (w / Jan St Werner), Pinksummer Contemporary Art, Genova 2007 «These Days», Present Future, Artissima 14, Turin 2007 «Almost Here», Kunstverein Hamburg, Hamburg 2007 «Scene for New Heritage III», Art Unlimited, Art 38 Basel, Basel 2007 «David Maljković», P.S. 1 Contemporary Art Center, New York 2007 «Scene for New Heritage Trilogy», Whitechapel Art Gallery, London 2007 «Days Below Memory», CAPC, Musee d'Art Contemporain, Bordeaux 2007 «Scene for New Heritage Trilogy», The Physics Room, Christchurch 2006 «David Maljković», Salon of Museum of Contemporary Art, Belgrade 2006 «David Maljković», Museum of Modern and Contemporary Art, Rijeka 2006 «These Days» (w / Yael Bartana), Gallery Nova, Zagreb 2006 «It's gonna happen» (w / Rosa Barba), Croy Nielsen, Berlin 2006 «Scene for New Heritage II», Centre de Creation Contemporaine, Tours 2005 «Waiting Tomorrow», Annet Gelink Gallery, Amsterdam 2005 «90s without 90s», MMC Palach, Rijeka 2005 «Scene for New Heritage», Van Abbemuseum, Eindhoven

Galiczynski creates large, framed canvas works, most often acrylic based, drawing out the depth and texture of the painting to complement the compelling images of Philadelphia's intensity and rawness.

With withdrawn body language and a pensive demeanour, the woman turns away from us or toward our own image, sometimes appearing to be walking not just out of the frame but passing into the void.

He used the binocular - like cut - outs in his photographic archive material to focus and frame details of an image.

Mostre Personali 2018 «Alterity Line», Metro Pictures, New York 2017 «David Malikovic», Dvir Gallery, Tel Aviv 2016 «Vignettes», Annet Gelink Gallery, Amsterdam 2016 «Again and Again», Museum of Contemporary Art Metelkova, Lubiana 2016 «AAASSEMBLAGE», Dvir Gallery, Bruxelles 2016 «All Day All Year», T293, Roma 2016 «The Exhibition is Becoming», VOX Centre de l'image contemporaine, Montreal 2015 «A Retrospective by Appointment», Gallery Nova, David Maljković's studio, Gallery of Croatian Designers» Association, Cinema Tuškanac e Croatian Film Association, Zagabria 2015 «With the gallery», Galleria Massimo Minini, Brescia 2015 «David Maljković», Metro Pictures, New York 2015 «David Maljković», Sprüth Magers, Londra 2015 «New Collection», Blondeau & CIE, Ginevra 2015 «Negatives», with Konstantin Grcic, Centre d'édition contemporaine, Ginevra 2014 «In Low Resolution», Palais de Tokyo, Parigi 2014 «David Maljković», Georg Kargl Fine Arts, Vienna 2014 «David Maljković», Leal Rios Foundation, Lisbona 2014 «David Maljković», Kunstmuseum St.Gallen 2013 «Afterform», Annet Gelink Gallery, Amsterdam 2013 «New Reproductions», CAC Contemporary Art Centre, Vilnius 2013 «Sources in the Air», GAMeC, Bergamo 2013 Metro Pictures, New York 2013 «Sources in the Air», BALTIC Centre for Contemporary Art, Gateshead 2012 «Sources in the Air», Van Abbemuseum, Eindhoven 2012 «A Long Day for the Form», T293, Roma 2012 «A Long Day for the Form», Sprueth Magers, Berlino 2012 «Morgenlied» (con Latifa Echakhch), Kunsthalle Basilea 2012 «Scene, Hold, Ballast» (con Lucy Skaer), Sculpture Center, New York 2011 «Recalling Frames», Metro Pictures, New York 2011 «La Casa Mila» (con Rosa Barba), Loop Festival, Barcellona 2011 «Temporary Projections», Georg Kargl Fine Arts, Vienna 2011 «Images with their own shadows», Vjenceslav Richter Collection, Museum of Contemporary Art, Zagabria 2011 «Exhibitions for Secession», Wiener Secession, Vienna 2010 «Images with Their Own Shadows», Moderna Galerija, Lubiana 2010 «Images with Their Own Shadows», International Festival of Contemporary Visual Art, Glasgow 2010 «Out of Projection», Art Unlimited, Art 41 Basel, Basilea 2010 «Lost Cabinet», Nogueras Blanchard, Barcellona 2010 «Missing Colours», Annet Gelink, Amsterdam 2010 «Recalling Frames», Sprueth Magers, Londra 2010 «Retired Forms», Massimo Minini, Brescia 2009 «Retired Compositions», Metro Pictures, New York 2009 «Nothing Disappears without a Trace», ARCO, Madrid 2009 «After the Fair», Georg Kargl BOX, Vienna 2009 «David Maljković», Museo Nacional Centro de Arte Reina Sofia, Madrid 2009 «David Maljković», Fondazione Morra Greco, Napoli 2009 «David Maljković», Sprueth Magers, Berlino 2008 «Handed Over» (con Rosa Barba), Project Art Centre, Dublino 2008 «Lost Memories from These Days», Annet Gelink Gallery, Amsterdam 2008 «Lost Review», Le Plateau, Parigi 2008 «David Maljković», Kunstverein Nurnberg, Nurnberg 2008 «Parallel Compositions», Bergen Kunsthall, Bergen 2008 «Shadow Should Not Exceed» (con Jan St Werner), Pinksummer Contemporary Art, Genova 2007 «These Days», Present Future, Artissima 14, Torino 2007 «Almost Here», Kunstverein Hamburg, Amburgo 2007 «Scene for New Heritage III», Art Unlimited, Art 38 Basel, Basilea 2007 «David Maljković», P.S. 1 Contemporary Art Center, New York 2007 «Scene for New Heritage Trilogy», Whitechapel Art Gallery, Londra 2007 «Days Below Memory», CAPC, Musee d'Art Contemporain, Bordeaux 2007 «Scene for New Heritage Trilogy», The Physics Room, Christchurch 2006 «David Maljković», Salon of Museum of Contemporary Art, Belgrado 2006 «David Maljković», Museum of Modern and Contemporary Art, Rijeka 2006 «These Days» (con Yael Bartana), Gallery Nova, Zagabria 2006 «It's gonna happen» (con Rosa Barba), Croy Nielsen, Berlino 2006 «Scene for New Heritage II», Centre de Creation Contemporaine, Tours 2005 «Waiting Tomorrow», Annet Gelink Gallery, Amsterdam 2005 «90s without 90s», MMC Palach, Rijeka 2005 «Scene for New Heritage», Van Abbemuseum, Eindhoven

The way the ball's glow spreads out over the frame, seemingly over the top of nearby objects like the roofline, suggests it is occurring on the image sensor and not in the atmosphere.

A host of different frames can be selected in order to fill out the perimeter of the display between the 4:3 image output by SNES hardware and today's standard 16:9 television screen.

This allows them to use a feature called motion interpolation, which inserts additional frames in between the existing frames in order to smooth out motion, reducing any sort of judder or shake in the image.

The Google Camera app comes with a new Portrait Mode that focuses on the main person in frame and blurs out the background to produce an image in vein of a live portrait.

Furthermore, in general use, we found that the Pure XR doesn't focus properly when manually setting the focus in the viewfinder: the handset doesn't seem to respond to the selected focal point and resulting images are focused on the centre of the frame, with the edges blurred out.

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