Sentences with phrase «photograph of a group of people»

For instance, when taking a photograph of a group of people in a museum, the photo may also show some paintings on the walls.

Not exact matches

The statement stated, «Our attention has been drawn to a sensational display of photograph of some persons who claim to be pensioners in Osun who have dubiously grouped themselves «Internally Displaced Pensioners» and claimed to have set up an «IDP» camp in the state capital, Osogbo.

Gold membership features: • There are advanced search features, so you can narrow down the list and increase the chances of finding the right match in your case; • You can look at any other profile on the site, when you want and which one you want; • You can receive messages from others, reply to these messages, or initiate new messages; • You can see full - size photos and video, plus to leave any comments for the ones you like; • You can watch any webcam you like, without any limits; • You can send friend requests and flits to the people you like; • You can create a hotlist that can hold up to 1000 members; • Customer support is provided with priority, via phone, and via e-mail, if you want, with an answer received in approximately 12 hours; • You can see when there is a contest of photographs, and you can participate by commenting, viewing and liking your favorite photos; • You can upload photos and videos to your own profile; • You will enjoy access to the available groups and blogs; • You can use chat rooms or IMs of the members to communicate in real time with them;

Kiluanji Kia Henda's black - and - white photographs feature a group of people assembling what could be Cerrillo's frames into empty cubes — Donald Judd's boxes without the volume — because in the age of social media, it's only the exterior that counts.

For Köfte Airlines Altındere, in cooperation with refugees living in Turkey, staged a photograph showing a larger group of people sitting on the back of an airplane.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

«I like to get emotionally connected when I photograph people,» Solomon said in a recent conversation with Charlotte Cotton, the curator of an upcoming exhibition of the group's work.

Other new auction records were Lot 28, «Blind Man's Bluff,» a sensual sculpture by Louise Bourgeois (b. 1911), which sold for $ 1,439,500; Lot 10, «The American Sweetheart,» a good work by Robert Indiana (b. 1928), which sold for $ 614,500; Lot 8, «Great American Nude # 44,» by Tom Wesselmann (b. 1931), which sold for $ 944,500; Lot 35, «In the Beginning Was The Image,» a colorful and chaotic work by Asger Jorn (1914 - 1973), which sold for $ 2,099,500; Lot 46, «The Beach Series,» photographs of skinny young people of no particular distinction by Rineke Dijkstra (b. 1959), which sold for $ 405,000; Lot 40, «Figure 11.23,» a rather bloody looking work by Jenny Saville (b. 1970), which sold for $ 537,500; Lot 42, «Mailander Dom (Fassade),» a handsome church facade photograph by Thomas Struth (b. 1954), which sold for $ 317,500; Lot 45, «Wand (Mural),» by Thomas Demand (b. 1964), which sold for $ 141,500; Lot 48, «Thanksgiving,» a group of 149 photographs by Nan Goldin (b. 1953), which sold for $ 284,500; Lot 64, «Adieu Batista,» by Julian Schnabel (b. 1951), which sold for $ 361,500; Lot 68, «A Certain Lunar - Eclipse (Project for Humankind No. 2),» by Cai Guo - Qiang (b. 1957), which sold for $ 229,500; and Lot 24, «Untitled (Fragments),» by Toba Khedoori (b. 1964), which sold for $ 65,725.

They show groups of people in Nigeria or Brooklyn or Los Angeles, and incorporate photographs of politicians, images of ancestors (mostly women) and objects that signify life in both cultures — a bowl to hold rice, a kerosene lamp, Ikea furniture.

The Nude Man in Art from 1800 to the Present Day Musèe d'Orsay, Paris, France «Eye to I... 3,000 years of Portraits» Katonah Museum of Art, Katonah, NY 30 Americans, Milwaukee Art Museum, Milwaukee, WI Through the Eyes of Texas: Masterworks from Alumni Collections, The Blanton Museum of Art, Austin, TX 2012 Looped, Utah Museum of Contemporary Art, Salt Lake City, UT The Human Touch: Selections from the RBC Wealth Management Art Collection, RedLine Gallery, Denver, CO The Soul of a City: Memphis Collects African American Art, Memphis Brooks Museum of Art, Memphis, TN 30 Americans, Chrysler Museum of Art, Norfolk, VA All I Want is a Picture of You, Angles Gallery, Los Angeles, CA BAILA con Duende: Group Art Exhibition, Watts Towers Arts Center and Charles Mingus Youth Arts Center, Los Angeles, CA The Bearden Project, The Studio Museum in Harlem, New York, NY The Human Touch: Selections from the RBC Wealth Management Collection, The Scottsdale Museum of Contemporary Art, Scottsdale, AZ 2011 Parallel Perceptions, NYC Opera, New York, NY Who, What, Wear: Selections from the Permanent Collection, Studio Museum Harlem, New York, NY Capital Portraits: Treasures from Washington Private Collections, National Portrait Gallery, Smithsonian Institution, Washington, D.C. Becoming: Photographs from the Wedge Collection, The Nasher Museum of Art at Duke University, Durham, NC Human Nature: Contemporary Art from the Collection, Broad Contemporary Art Museum (BCAM) at Los Angeles County Museum of Art, (LACMA) Los Angeles, CA Beyond Bling: Voices of Hip - Hop in Art, Ringling Museum of Art, Sarasota, FL 30 Americans: Rubell Family Collection, Corcoran Gallery of Art, Washington, D.C.. For a Long Time, Roberts & Tilton, Culver City, CA RE-Envisioning the Baroque, I.D.E.A. at Colorado College, Colorado Springs, CA 2010 Size Does Matter, FLAG Art Foundation, New York NY Passion Fruits, Collectors Room, Berlin The Global Africa Project Exhibition, Museum of Arts and Design, New York, NY Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, CA Patter ID, Akron Art Museum, Akron, OH Wild Thing, Roberts & Tilton, Culver City, CA Summer Surprises, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Individual to Icon: Portraits of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, ND The Library of Babel / In and Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum of Art and Craft, Louisville, KY The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, CO From Then to Now: Masterworks of Contemporary African American Art, Cleveland Art Museum, Cleveland, OH 2009 Enchantment, Joseloff Gallery, Hartford, CT Reconfiguring the Body in American Art, 1820 - 2009, National Academy Museum, New York Creating Identity: Portraits Today, 21C Museum, Louisville, KY Other People: Portraits from Grunwald and Hammer Collections, Curated by Cindy Burlingham and Gary Garrels, Hammer Museum, Los Angeles, CA 2008 30 Americans, Rubell Family Collection, Miami, FL Recognize: Hip Hop amd Contemporary Portraiture, Smithsonian Institution National Portrait Gallery, Washington, D.C. Macrocosm, Roberts & Tilton, Culver City, CA 21: Contemporary Art at the Brooklyn Museum, The Brooklyn Museum, Brooklyn, NY Selected Drawings, Museum of Contemporary Art, Cleveland, Cleveland, OH Down, Museum of Contemporary Art, Detroit, Detroit, MI

For the exhibition at VENUS OVER MANHATTAN more than twenty artists and practitioners were invited to make new works or projects for individual 4» x 3» glazed bulletin boards, and an additional group of four people were invited to «curate» a display in larger 6» x 4» boards.The «Bulletin Boards» featured in the exhibition will include collections of photographs (found or otherwise), painted and collage works, sculptural interventions, text pieces, and a working fish tank amongst many other things.»

Currently on view at ADDS DONNA, Chicago is a seven - person group show of abstract paintings, photographs and sculptures entitled «duckrabbit» in which the artworks use objects and references with a clear connection to our...

The National Portrait Gallery presents Road to 2012: A Local Story an exhibition of striking new photographs of people from East London community groups who are working with the National Portrait Gallery opens on July 27 2011 at the View Tube, a café and arts space close to the Olympic Park.

These prints show a group of houses (inspired by a Walker Evans photograph from the 1936 series American Photographs), a group of people bathing, parked cars, groups of people sitting and standing at the edge of a forest, perhaps waiting for a concert, a meeting, or a picnic.

Currently on view at ADDS DONNA, Chicago is a seven - person group show of abstract paintings, photographs and sculptures entitled «duckrabbit» in which the artworks use objects and references with a clear connection to our lived world.

2008 Ansel Adams Gallery Yosemite — Solo Exhibit of Wet Plate Collodion Work 2008 University of Alaska, Soldotna, AK — By Hand, Wet Plate and Platinum / Palladium / Gum Prints 2007 Solo Exhibit of Wet Plate Collodion Work, Studio 391, Gualala, California 2006 Watermark Gallery, Houston, Texas 2006 The Ansel Adams Gallery, Two - person show, Yosemite, California 2005 Watermark Gallery, Houston, Texas 2004 Watermark Gallery, Houston, Texas 2004 The Ansel Adams Gallery, Two - person show, Carmel, California 2004 First Street Gallery, Group show, Boca Raton, Florida 2003 The Ansel Adams Gallery, Three - person show, Yosemite, California 2002 Group show, The Lola Gallery, San Francisco, California 2002 Group show, Michael Dawson Gallery, San Diego, California 2002 Platinum: A Rare Passion - Group show, Gallery Sink, Denver, Colorado 2000 Contact - Platinum and POP prints by Kerik Kouklis - The Darkroom Gallery, Sacramento, California 1999 «Three Thoughts on the Landscape» - Group Show, University of the Pacific, Stockton, California 1999 A Sense of Place, Photographs by Kerik Kouklis - North Light Gallery, Toronto, Canada

PETER CAIN Born: Orange, NJ, 1959 Education: School of Visual Arts, New York, 1980 - 1982 Parsons School of Design, New York, 1977 - 1980 Died: New York, 1997 One - Person Exhibitions: 2017 Matthew Marks Gallery, Los Angeles 2016 Matthew Marks Gallery, New York (catalogue) 2005 The Sean Pictures, Matthew Marks Gallery, New York The Los Angeles Pictures, Galerie Aurel Scheibler, Cologne (catalogue) 2002 More Courage and Less Oil, Matthew Marks Gallery, New York (catalogue) 1997 New Paintings and Drawings, Matthew Marks Gallery, New York 1995 Recent Paintings, Daniel Weinberg Gallery, San Francisco Paintings, Drawings, Photographs, Matthew Marks Gallery, New York 1992 Matthew Marks Gallery, New York 1991 Simon Watson, New York 1990 Daniel Weinberg Gallery, Santa Monica, CA 1989 Paintings and Drawings, Pat Hearn Gallery, New York Group Exhibitions: 2018 Running Wild, The Arts Club, London 2017 Fast Forward: Painting from the 1980s, Whitney Museum of American Art, New York Strange Attractors: The Anthology of Interplanetary Folk Art, Vol.

They are also the subjects of portraits by Venezuelan photographer / biologist Antonio Briceño celebrating successes and highlighting continuing challenges in the country that hosted this year's World Environment Day.In line with the WED theme focusing on «the central importance to humanity of the globe's wealth of species and ecosystems,» the nonprofit group Art Works for Change brought Briceño to Rwanda to photograph the land and the people, which the artist paired in diptychs showing individuals and the ecosystems they rely on.

-- more frequent communication with my immediate family — more connectedness with colleagues across the country (and in some cases, around the world)-- becoming acquainted with colleagues from around the world — finding people who have similar experiences for the purpose of mutual moral support — sharing photos with a lot more people (before digital cameras I did not take photographs since it was too expensive)-- distance learning via the web (courses)-- learning about subjects of interest in more depth, especially from papers by others — learning from conferences I was unable to attend in person (through papers posted, blog posts, conference wikis, and photos on Flickr)-- more readily available consumer information — more readily available government information — learning more about basic health issues — more creative cooking since I have more access to recipes — feeling more connected to my favourite musical groups / musicians since they now have extensive websites, email notification services, and blogs — better organization of the various groups I belong to

A photograph attached shows a group of young people — including Grimes — beneath the BeLeave logo.

The HUD regulations prohibit the use of catchwords, phrases, symbols, photographs, and illustrations that convey dwellings are available or not available to a particular group of persons because of race, color, religion, sex, handicap, familial status, or national origin.