Sentences with phrase «photographs in the exhibition»

A selection of photographs in the exhibition features images of friends and family performing within the landscape.

The hundred photographs in the exhibition include: spontaneous portraits of legendary today artists, actors, and musicians, cultural events, people that currently we would call them iconic, and intimate moments that caught Hopper's attention, constitute a captivating view of the 60s and 70s that combines political idealism and human optimism and the and the contrast between the hard work of the (ordinary) people and the Hippie revolutionary dream.

The series was shown with black - and - white photographs in the exhibition Work Studies in Schools, curated by Mark Francis, at what was then the Museum of Modern Art Oxford, in 1977.

Photographs in this exhibition come from the Light Work Collection.

Iraninan - born artist and filmmaker Shirin Neshat poses in front of «Bahman (from Our House Is on Fire), 2013,» a large scale photograph in the exhibition, «Our House Is on Fire» at the Robert Rauschenberg Foundation January 30, 2014 in New York.

Tomohiro Muda is presenting a series of haunting photographs in an exhibition Icons of Time: Memories of the Tsunami that Struck Japan at the Fitzrovia Chapel in London this weekend.

The finely printed photographs in this exhibition explore architectural complexity, the fluidity of human form, social documentary, the minds interior landscape and technical innovation as an end in itself.

Though superficially flatter than any painting, there are also photographs in this exhibition that, through their precise representation of pealing paint (for example) rival the tactility of the most dimensional de Kooning.

Edward Steichen included Leiter's black - and - white photographs in the exhibition Always the Young Strangers at the Museum of Modern Art in 1953.

Other photographs in the exhibition emerge from a different Hollywood scene involving Kenneth Anger, widely known for his iconic book Hollywood Babylon (1958), and films such as Scorpio Rising (1964).

The foam block in Another Interlude may make you think of fellow German artist Joseph Beuys; the sole photograph in the exhibition will surely make you think of Hans Bellmer and Man Ray — it's a restaged version of the latter's 1920 work The Coat - Stand (Porte manteau), the original of which is at the National Gallery of Modern Art in Rome, and appears briefly in Another Interlude.

Her work builds drama through mixing up distant and conflicting realities and chronologies — the most recent images in the exhibition were made on a recent trip to Cuba and Los Angeles, the oldest photograph in the exhibition dates back to 1978 when Graubard had just quit working for rock and roll and literary agents.

From the first photograph in the exhibition - Palermo (Giardini Inglese)(2013), a photograph of a neoclassical statue in an empty room - to the last - Palermo (Frangiai)(2013), a photograph of a parked car - the objects in the photographs serve as iconic reminders of the inexorable passage of time.

The 20 large - scale color photographs in the exhibition present a satirical, darkly humorous view of women, fashion, and commodification today.

Visitors to the Turner Prize will be able to take photographs in the exhibition and are encouraged to share and debate these through social media.

The majority of photographs in the exhibition are vintage Silver Gelatin prints, made by Cala at the time they were taken.

The nearly 30 black - and - white photographs in the exhibition, made between the years 1967 and 1986, include men depicted in the highest pitch of orgasm, as well as perceptive portraits of fellow artists such as Merce Cunningham and John Cage, David Wojnarowicz and Lynn Davis.

61 photographs in the exhibition came from the Southwestern Bell Foundation, including 6 given to the National Gallery in conjunction with the exhibition and 55 promised as gifts.

By turns disarmingly candid and unabashedly performative, the photographs in the exhibition examine how love is captured — and indeed at times bestowed — by the act of taking a picture.

Dating from the 1950s to the present, the the photographs in the exhibition reveal how the explosive growth in numbers of women photographers since the 1950s, when Bunny Yeager herself was a pioneering photographer, has changed the way women are represented.

The way in which Starling has provided the information surrounding each image is through a booklet mapping the photographs in the exhibition.

Image: Isaac Julien, photographed in his exhibition «I dream a world» Looking for Langston at Victoria Miro until 29 July 2017.

In this case William's edition dwarves the photographs in his exhibition, and contradicts the printing - process as one typically used for mass production.

Many of the photographs in this exhibition include images of Vivienne Dick, and show their enduring friendship.

Tracing the immigrant's journey, photographs in the exhibition will lead viewers through sections on otherness, growth, global issues, boundaries, work, and the history of the United States.

The photographs in this exhibition provide a visual narrative of the ever - changing American South — the nineteenth century, the Great Depression, the civil rights movement and the emergence of the New South.

The photographs in this exhibition shared a complex relationship with the human face.

The photographs in this exhibition were lent by the artist and the Holly Solomon Gallery.

Taken over the course of six months at the Bel Air, California, residence of Elizabeth Taylor (1932 — 2011), the photographs in the exhibition are selected from two series, Closets and Jewels and 700 Nimes Road.

Newman was one of the attorneys who represented Dr. Martin Luther King, Jr. just before his death in 1968, and his gallery talk will focus on his experiences during that time as reflected in the photographs in the exhibition.

After learning of my intent to include his photograph in the exhibition and a rather comical attempt by me to explain the metaphoric concept of thinly veiled in broken German, he graciously offered this piece from his most recent exhibition.

Brandon Lattu (b. 1970) constructed the photographs in this exhibition out of hundreds of negatives.

The photographs in the exhibition show a beekeeper using old shopping carts and other found objects as supports for the beehives.

The Photographers» Gallery, London Found in flea markets, garage sales, junk shops and eBay, the photographs in this exhibition capture the many ways people have been bending gender since the late 1800s.

The vantage point from a traveling car is central to her photographs in the exhibition, providing a fleeting yet personal engagement with the environment.

Exhibition Catalogue: The exhibition will be accompanied by a catalogue, featuring reproductions of all of the photographs in the exhibition accompanied by brief essays penned by Russell Lord, the Freeman Family Curator of Photographs.

The photographs in the exhibition are the actual prints, presented in the exact manner in which they were shown at MoMA in 1970.

Many of the 35 photographs in the exhibition are on public view for the first time.

The nearly 40 photographs in the exhibition are tied together by themes of racial and social inequality, the texture of everyday life in America and the nature of sight, perception and photography itself.

Contemporary artists, using very traditional cameras, made the photographs in this exhibition.

The exhibition has recently been on view at Matthew Marks Gallery, New York and is accompanied by a hard - cover book reproducing all the photographs in the exhibition and including an essay by the curator Robert Nickas, published by Fraenkel Gallery and Matthew Marks Gallery.

The photographs in this exhibition were selected from Michael's extensive body of work crafted in Japan.

The photographs in this exhibition have been selected from a larger body of work that took over four years to create and are printed from traditional slide film.

The photographs in the exhibition are on loan from the Wilson Collection, London, with some additions from the Stephen Kasher Gallery, Howard Greenberg in New York and Stephen Daiter in Chicago.

Waltz said students of various backgrounds shared their own observations about the photographs in the exhibition

Join artists Sunil Gupta and Charan Singh as they discuss the photographs in the exhibition Dissent and Desire along with their past and current projects with CAMH Director Bill Arning and CAMH Assistant Curator Patricia Restrepo.

A photograph in the exhibition catalogue shows the marble forms arranged on the artist's carving turntable approximately as they are now but still sitting on their «bankers» - the small palettes used for carving - and surrounded by sculptor's tools.