Sentences with phrase «painting film titled»

The best known one is a forty minute motion painting film titled Kill The Ego.

Not exact matches

The opening credits feature a baby's fingertip reaching out to touch the title of the film, just like the famous Sistine Chapel painting of God and Adam brushing fingertips (the image becomes even more confrontational when it's repeated, with Darwin touching the finger of an orangutan).

For a spell, it feels as if the film will transcend the unpromising irony of its title with a female protagonist painted as unflattering and tortured, but by the time the final credits roll after an unforgivable third act, Murder by Numbers washes out as just another imminently forgettable movie starring Sandra Bullock.

The film's title is inspired by a David Hockney painting, a work that provides mystery in suggestion as the only sign of a protagonist is a splash and an empty chair, asking the spectator to provide the rest.

Even the title of the film seems like a play on Xavier's School for Gifted Youngsters, so it can't really be ignored as a coincidence, especially as the story paints the group as a class under fire from those who don't understand them, a strong allusion to the X-Men as an analogue for various persecuted races and classes throughout the history of the 20th century.

Walter and Margaret Keane rose to prominence in the 1950s and 60s for their kitsch paintings, characterized by figures of children with unusually large eyes (hence the film's title).

Its mere presence is refreshing after suffering through too many denoised Disney titles; so much of the background texture, not to mention the film's hand - painted charm, is bound up in the stuff that filtering it out would be pure revisionism — and, I suspect, wreak havoc on the already photographically - soft detail.

It starts with Kool & the Gang's «Celebration,» the film's titles splashed against the bright lavender - painted cement of the motel, and how different viewers might interpret that choice of song could predict how they'll respond to the film entire.

Le Mépris, Luc Tuymans» exhibition of new paintings at David Zwirner Gallery, takes its evocative title from a Godard film of the same name.

In his first L.A. museum exhibition, Simmons paints the titles of race films on five large walls as part of a site - specific installation in CAAM's grand entrance.

The exhibition will be an ambitious installation in which Grasso transforms the gallery into an immersive environment, a multimedia labyrinth that includes new sculpture, paintings, photographs, neon works and video (the eponymously titled film will make its US debut in this exhibition).

Shezad Dawood: Towards the Possible Film comprises a group of recently executed light sculptures, an installation of large scale paintings on textile, and two films, one of which, Towards the Possible Film, gives its title to the exhibition and will have its UK premiere at Parasol unit.

The work, titled «Free» is a site - specific installation and was inspired by Rubell's recent visit to Savannah as well as a broad range of ideas from communion and the Annunciation to Le Corbusier's church at Ronchamp, artists Mark Rothko and Donald Judd, and Hans Namuth's film of Jackson Pollock painting.

Kass» Warholesque paintings of Streisand in Yeshiva drag from the film Yentl, titled My Elvis, are an example of the artist's genre - and gender - bending sensibility.

Her fascinating life story became an instant magnet for her exhibitions, while the unique circumstances of Herrera's paintings were crowned with a 2014 documentary film by a famous director Alison Klayman, titled appropriately as The 100 Years Show.

Shown downstairs in dialogue with the paintings are a group of black and white prints from pornographic spreads of women censored by DVD and CD music and film titles and scanning barcodes.

With references to abstract expressionism and the action painting of the 1960s, process rather than product is of central importance to West's work, a fact supported by the lengthy titles given to each film which act as thorough, even pedantic narrative accompaniments to the work, elucidating the abstract marks onscreen as the films are literally infused by the materials only through their titles.

With an exhibition title like «Dwan Gallery: Los Angeles to New York, 1959 — 1971,» you'd expect to find a show featuring classic paintings, sculptures, drawings, photographs, and films that once might have graced the pages of Artforum, the influential art journal which, like the gallery in question, migrated from Los Angeles to New York during the late 1960s.

Painting and sculpture predominate, but archival films feature the artist waxing philosophical on his practice in a studio filled with unorthodox materials and, in a vintage broadcast titled Tele - Mack from 1969, patrolling the Tunisian desert alone in a silver suit.

On view at Incline Gallery is a three - person show titled This Island Earth, featuring paintings by Alexander Cheves and Walter Logue, and film and collage by Paul Clipson.

Referencing the cinematic work of French film - noir director Jean - Luc Godard through the title of one of his most famous movies, Le Mépris (Contempt), Mr. Tuymans reflects on the filmmaker's themes of isolation, melancholy and nostalgia in these paintings of murky waters and floats in a flower parade.

In his first museum exhibition in Los Angeles, Simmons's «canvas» will be the five large 440 - square - foot walls in CAAM's grand lobby, where he is creating a site - specific painting that includes titles of vintage silent films that feature all — African American casts.

Displayed in the manner of white paint on a black chalkboard using Simmons's signature «erasure technique,» each panel extends a list of film titles, embedding decontextualized information into the museum's interior.

And don't miss the Peter Fischi and David Weiss 16 mm film (transferred to video) titled The Way Things Go (1987) and Jim Hodges's gold leaf painting and still this (2005 - 08).

The influence of the liquid metal T - 1000 character in James Cameron's film Terminator 2: Judgment Day (1991), to which Rae refers, can also be seen in the title and fluctuating black and white forms of Rae's contemporaneous painting Untitled (T1000) 1996, which was exhibited alongside Untitled (emergency room) at the Museum of Modern Art, Oxford, in 1996, as part of the group show About Vision: New British Painting in thpainting Untitled (T1000) 1996, which was exhibited alongside Untitled (emergency room) at the Museum of Modern Art, Oxford, in 1996, as part of the group show About Vision: New British Painting in thPainting in the 1990s.

The «X» of the title, however, refers not just to the pattern made by the chair's frame, and to the pornographic film rating, but also to a traditional compositional structure in painting.

Determined to introduce motion into painting, Mr. Breer had already begun making stop - action films, titled «Form Phases,» based on motifs from his paintings.

Das and Sharma have included painting, sculpture and film works by 16 artists, including Krishna and Judy Blum Reddy, Nirode Mazumdar (from whose memoir the show gets its title), Zarina Hashmi, Akbar Padamsee, and even film editor Lila Lakshmanan, who worked with Jean - Luc Godard for over nearly a decade on some of his most famous films, such as À bout de soufflé (Breathless, 1960) and, Une femme est une femme (A Woman is a Woman, 1961).

The transformation of the film title into Painters Panting reveals something of the exhibition's focus — the exasperation with and ongoing passion about «painting concerns» as evinced by painters, photographers, video artists, and filmmakers.

The title of this exhibition, On Any Sunday, references the personal nature of the words that Abbott includes in his text - based paintings, and is the title of a mid-1970s documentary film on motorcycle culture that Abbott's father had a cameo role in.