Sentences with phrase «photograph as an aid»

What excited audiences was not just the contemporary work but the revelation that for over a century so many painters had relied surreptitiously on photographs as aids to composition, tonality and realism.

She was one of the first artists to use a projection of a photograph as an aid to painting.

Not exact matches

«As somebody who has worked in the field as an aid worker I don't need to see that photograph to understand how shocking what can happen in conflict iAs somebody who has worked in the field as an aid worker I don't need to see that photograph to understand how shocking what can happen in conflict ias an aid worker I don't need to see that photograph to understand how shocking what can happen in conflict is.

The ability to retrieve a memory decays exponentially, and after only a month more than 85 per cent of our experiences will have slipped beyond reach, unless boosted by artificial aids such as diaries and photographs.

My Thesis Writing Company also suggests you to include charts and photographs in your defense speech as visual aids will help you with explaining your thesis and present your data to the audience as well as remind you where you are in your speech if you get lost.

Marketa Luskacova's photographs were taken in Chiswick Women's Aid, the first ever refuge for victims of domestic abuse and their families, or «battered women» as they were then labelled.

She has left out blue suitcases, mounted a tree on scaffolding, photographed a model of New York as if flying above it, demanded a lesbian president at the height of the AIDS crisis, and haunted the city with a wax anatomical model.

As an artist, Ms. Dooley's photographs and photographic essays covering subjects that include AIDS, breast cancer, African - American Women, and Asia, parallel her daily life and her travels.

Schiele famously traveled everywhere with a full - length mirror that once belonged to his mother, and Saville also uses full - length mirrors, as well as photographs (the latter to «hold the image down,» in her words), to aid in the lengthy process of painting her fragmented and layered figures.

Formerly head of the Department of Modern and Contemporary art as well as the Houghton Curator of Contemporary Art at the Harvard Art Museum, she presented an exhibition of photographs by Moyra Davey and ACT UP NY: Activism, Art, and the AIDS Crisis 1987 - 1993.

In a text accompanying the show, they argue that if the AIDS crisis, which was at its peak during the six years Rosenberg worked on the series, «is not a subject of the work, it is an implicit and important cultural and historical lens through which to consider a series of photographs depicting the sexualized male body as a site of pleasure.»

Werner Jungmichel, a camera shop owner in Waltersdorf teaches the young Richter to develop photographs, a skill which he will continue to use as an aid to painting and as a means of recording his own work.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inferior to the photograph and many turned to photography as careers; within nineteenth - and twentieth - century art movements it is well documented that artists used the photograph as source material and as an aid — however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations; [8] and through the photograph's invention artists were open to a great deal of new experimentation.

I then recompose the photographs with other materials, such as Color - aid, vintage wallpaper, and even old drawings from my student days.

The invention of photography dramatically expanded the possibilities, though many practitioners staunchly denied the use of photographs as visual aids.

The large - format pictures, but especially the desert photographs, offer the viewer little orientation aids, not an eye - catcher that could serve as a starting and ending point for viewing the picture.

Before ICA, Molesworth was the Houghton Curator of Contemporary Art at Harvard Art Museum, where organized noteworthy exhibitions such as Long Life Cool White: Photographs by Moyra Davey and ACT UP New York: Activism, Art, and the AIDS Crisis, 1987 — 1993.

In the case of Geometric Death Frequency - 141, the «book» is a digital photograph of the museum's clocktower entry courtyard as taken by the artist, which the artist then transforms into pure data, and modulates using analytical and fluid dynamic modeling techniques, finally rendering the data stream into a three - dimensional sculpture using state - of - the - art computer - aided manufacturing methodologies.

The remainder of Langlands and Bell's collection is preoccupied with the acronyms used by aid agencies in Afghanistan - such as Unica, Echo and Hope - printing the words on flags, in neon and over photographs is a simple idea stretched too far.

And he doesn't just come to art fairs to cut ribbons — he's a shopper, touring the Armory Show and Frieze New York (as well as other international fairs) with aids who photograph favorite works for him.

As head of the Department of Modern and Contemporary Art at the Harvard Art Museum, she presented an exhibition of photographs by Moyra Davey and ACT UP NY: Activism, Art, and the AIDS Crisis 1987 - 1993.

We have working relationships with experts in police pursuit cases and are very familiar with producing demonstrative aids for such cases such as helicopter views of the pursuit scene and photographs of key intersections.

Before the days of video, and currently as well, this Employer could have hired a detective to conduct similar surreptitious surveillance away from the work place, make notes on what was observed and take still photographs, and then testify in an arbitration from his or her memory aided by the notes and still photographs.

If possible, photograph the damage and provide supplemental documentation, such as receipts, to further aid your claim.

They produce records such as dental photographs and study models to aid in diagnosis.