Sentences with phrase «photographs with ink»

Not exact matches

One Amazon Reviewer said this to say about the Dali Art «This book is a worthwhile addition to the collection of any Dali fan, but people familiar only with his paintings will be in for a surprise: these illustrations, done in a mixture of gouache (a thicker version of watercolor) and black ink, have a style quite different from the photograph - like realism with which Dali usually rendered his melted watches, spindle - legged elephants, and flaming giraffes.

Grimy and layered with ink, the walls held the club's history, and CBGB: Decades of Graffiti preserves that tale now that the walls are gone with photographs by J.K. Putnam, shot just before CBGB shut down.

Because inkjet technology offers a more consistent, higher - quality ink than the traditional black - and - white toner printer, it's also recommended to help achieve dynamic results for titles featuring elements with significant shading, like black - and - white photographs, illustrations, or tables.

Whether it's through a perfectly - timed photograph, or through bringing a portrait to life with nothing more than pen, ink, and paper, Kelsey has an extraordinary ability to capture a cat's personality.

The large - scale photographs are presented alongside wooden sculptural works of a now demolished home; artefacts retrieved from inside the homes; found photographs — some of which Strange has marked with ink and paint — and drawings that he created in the development of the project.

She prints a digital photograph of an image — usually appropriated from mainstream cultural sources, such as TV — using water - based inks, and then douses it with water, allowing the inks to bleed, blend, run and pool in arbitrary ways.

He experiments with many different items to make his own paper and ink, as well as using the items to physically affect the photograph after printing.

In the Month of June 2016, 2017, acrylic paint and ink on cotton fabrics, backed in linen, with embroidery and photographs printed on verso.

Using his diaries as points of departure, Beard's complex process often involves incorporating newspaper clippings, dried leaves, feathers, insects, old sepia - toned photos, photographs of women, quotes and various found objects in conjunction with his working with ink and paint.

Rainer's mature work typically uses photographs or inkjet prints, which the artist defaces with crayon, paint, or ink.

«I choose and photograph the subject, draw the outlines in pencil and then meticulously reproduce it with thin technical black ink pens on rough grain paper, laying layers of ink in a repeating pattern of little circles.»

The show mostly consists of paintings, though there are a couple of installations like Art of Hanging Pictures (2002), a salon - style wall of photographs and ink - jet prints, and Baobab Ensemble (2003), a loosely arranged seating area, the floor of which is strewn with hundreds of photographs and books.

After many years of working with photography, she now explores how to extend her vision by adding drawing and painting (primarily with inks and watercolors) to her photographs.

(Schimmel, p. 72) Some of the resulting photographs were straight prints, others were manipulated in the darkroom and still others, like Quetta, Pakistan, were embellished by hand with colorful egg tempera inks and gold and silver paint.

From photographs painted with inks, to traditional sign - making, and oil and acrylics on paper, A5xn sets out to prove that flexibility and knowledge of materials are shared values, even if the application can be diametrically different.

They signify art as commodity - fetish / object - of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition of the same shapes and imagery, the synthetic palette (hues typical of process inks used for photocolor separations), and the stacking (an allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque allusions to sexuality and eroticism - as in the greasy holes of Painting of Depth or the pornographic photographs of Untitled (1986).

(c. 1950) Vintage gelatin silver print 9-1/2 x 7-11/16 inches With the photographer's Photograph by Consuela Kanaga ink stamp and titled Rothko / 1955 [sic] and notated Return to Lerner - Heller Gallery... N.Y. in pencil, on print verso

In his new paintings, on display at Contemporary Fine Arts in Berlin through July 28, Schnabel uses digitally printed photographs on polyester as a starting point, then overpaints with resin, oil, gesso and ink.

«Bumps in the Road» is shown alongside a selection of pastel drawings and photographs that have been overlaid with ink drawings.

Ray Johnson and Anita Steckel embellished found photographs with oil, ink, and collage.

Also of interest in the exhibition are Fairfield Porter's View Through Window from Interior (ink on paper, circa 1965), Adrian Nivola's delicate wire sculptures Arunian Harp (wood wire paint and mixed media, 2015) and Deco Pochette # 4 (wood, wire and paint, 2015), and Bryan Hunt's Deep Field with Quarry (oil, acrylic, charcoal, and photograph on canvas, 2015).

The ink drawing is part of the Guggenheim Museum's exhibition «Josef Albers in Mexico,» which contrasts Albers's little - known photographs of Mexico's Mesoamerican monuments with his abstract paintings.

Still Life with Potted Plant 2013 Extruded Polystyrene, wood, paper, ink, string, pins, plastic, fabric, found embroidery, plastic, beads, photographs 76 1/4 x 67 7/8 x 5 3/8 inches (193.7 x 172.4 x 23.8 cm) ARG # HE2013 - 010

Using his diaries as points of departure, his complex process often involves incorporating newspaper clippings, dried leaves, feathers, insects, old sepia - toned photos, photographs of women, quotes, and all sorts of found objects, in addition to working with ink and paint.

The lushly textured pages, often embellished with metallic inks and photographs, are highly seductive and revelatory.

Untitled Artist: Richard Long born 1945 Date: 1967 Classification: on paper, unique Medium: Ink with typescript on card and photographs on board Dimensions: support: 608 x 812 mm Purchased 1976 © Richard Long

Title: «Montauk Bluffs IV» Artist: Scott Farrell (Huntington Station, NY) photograph Digital photograph printed on Epson Hot Press Bright paper with archival pigment inks in black metal chrome with museum glass and archival mat and foamboard backing.

Sourcing from National Geographic issues from the 1960's, Patterson layers the images with a solvent removing ink and then photographs the images while in action.

Source Material The exhibition begins with working and process materials such as contact sheets, proof sheets, photo prints, and maquettes — black - and - white or color photographs scored with ink and masking tape.

With his recent collages of photographs and ink on paper drawings (titled after the location of the photographs) images of sky and cloud formations create dynamic and resonant frames to the inserted

Recalling the artist's pioneering work with Polaroid film («AutoPolaroids,» 1969 — 71 and «Photo - Transformations,» 1973 — 76), in which Samaras used hand - applied ink and manipulated the emulsions beneath the film to create extraordinary effects, the artist retouches the new photographs in Photoshop — not to conceal as the media might, but to exaggerate and reveal.

Beginning with photographs she has taken of desolate landscapes and abandoned construction in disparate locations, Bhabha layers the images with hallucinatory streaks of ink in saturated colors and sharp, gestural figuration, lending the works the same spontaneity and raw materiality as her sculptures.

Over wallpaper featuring Bette Davis and Joan Crawford in black mink coats, framed photographs of iconic (white) men, taken from a Francesco Scavullo coffee - table book, are violated with chewing gum and inked - on tears.

Working with abstraction by any means necessary, Brennan employs oil, acrylic, silk, paper, spray paint, iridescent medium, Mylar, plastic, wood, photographs, cardboard, pencil, ink, popsicle sticks and varnish.

Carol Bove's installation at Team will be made up of ink drawings, photographs, prints, sculptural assemblages constructed from readymades, and optical, site - specific wall designs made with string.

Also included is Andy Warhol's Little Electric Chair, 1964 that Twombly traded directly with the artist, a cerulean blue in stark contrast with the dark silkscreen inks and, two rare early works by Bruce Nauman, including one of only three Light Trap photographs, William T. Wiley or Ray Johnson Trap, 1967.

She then uses these photographs to make large - format silkscreens and, with enamel inks, renders permanently a fleeting reflection onto the surface on which it first appeared.

Indeed, shortly after moving to New York in 1978, the artist began to experiment with photographing unusual objects like aluminum foil, drapery velvet, ink infused gelatin, and, as pictured here, plastic tiles.

There are graphite, ink and watercolor portraits of women, images of heads with flourishes of gold embossing powder, and a recent series of collages — black and white photographs of faces cut from vintage Ebony and Jet magazines embellished with watercolor coifs and, in some instances, text.

In the late 1990s he began to draw directly on the surface of personal photographs, covering the images with intricate patterns of strokes and dots or applying splashes of paint and ink.

In Gelatin Photographs (1984) shiny chunks of black matter on a white background look like jagged rocks, when in fact they are only jello infused with India ink, and a reference to the «gelatin» of photographic papers.

Works included: Roy Lichtenstein «Still Life with Picasso», 1973 Screenprint Edition of 90, 30 AP 30 x 22 inches Ellsworth Kelly «Study for «Red Orange Panel»», 1978 Pencil and collage on paper 30 x 27 3/4 inches Robert Smithson «Photomarkers, (Six Stops on a Section)», 1968 Photographs mounted with Plexi glass 24 x 24 inches SR1968 - 001 Constantin Brancusi «Brancusi dans l'atelier, autoportrait», 1915 Vintage gelatin silver print 9 x 6 3/4 inches Constantin Brancusi «Self Portrait», 1922 Vintage gelatin silver print 11 1/4 x 9 inches Andy Warhol «Self Portrait», 1966 Silkscreen ink and synthetic polymer paint on canvas 22 x 22 inches Andy Warhol «Buddhas», 1983 Graphite on paper 31 3/4 x 24 inches Courtesy of the Andy Warhol Foundation WA1983 - 001 Donald Judd «Untitled», 1966 - 7 Galvanized iron painted red (lacquer) 5 x 40 x 8 inches Courtesy Paula Cooper, New York JD1966 - 001 Weegee «The Critic», 1943 Vintage gelatin silver print 11 x 14 inches WE1943 - 001 Weegee «The Flower Seller», 1941 Vintage gelatin silver print 13 3/4 x 10 3/4 inches WE1941 - 001 Weegee «Mayor LaGuardia at 123rd Street Police Station With Officials on Night of Riot», 1947 Vintage gelatin silver print 10 3/4 x 14 inches WE2004 - 014 Weegee «Victory Celebration», 1945 Vintage ferrotyped silver print 11 x 14 inches WE1945 - 001 Weegee «Children's Performance, at the Palace Theater», 1940 Vintage gelatin silver print 10 1/4 x 13 1/4 inches WE2004 - 015 Weegee «Mother and Daughter, Tenement Fire, Harlem» [I cried when I took this picture], 1942 Vintage gelatin silver print 10 1/4 x 13 3/8 inches WE2004 - 012 Carleton Watkins «Mt. Broderick, Nevada Fall, 700 feet, Yosemite 1861», 1861 Albumen print from wet collodion negative 15 3/4 x 20 1/2 inches WAC1861 - 001 vitrine at gallery center - all works by Georgewith Picasso», 1973 Screenprint Edition of 90, 30 AP 30 x 22 inches Ellsworth Kelly «Study for «Red Orange Panel»», 1978 Pencil and collage on paper 30 x 27 3/4 inches Robert Smithson «Photomarkers, (Six Stops on a Section)», 1968 Photographs mounted with Plexi glass 24 x 24 inches SR1968 - 001 Constantin Brancusi «Brancusi dans l'atelier, autoportrait», 1915 Vintage gelatin silver print 9 x 6 3/4 inches Constantin Brancusi «Self Portrait», 1922 Vintage gelatin silver print 11 1/4 x 9 inches Andy Warhol «Self Portrait», 1966 Silkscreen ink and synthetic polymer paint on canvas 22 x 22 inches Andy Warhol «Buddhas», 1983 Graphite on paper 31 3/4 x 24 inches Courtesy of the Andy Warhol Foundation WA1983 - 001 Donald Judd «Untitled», 1966 - 7 Galvanized iron painted red (lacquer) 5 x 40 x 8 inches Courtesy Paula Cooper, New York JD1966 - 001 Weegee «The Critic», 1943 Vintage gelatin silver print 11 x 14 inches WE1943 - 001 Weegee «The Flower Seller», 1941 Vintage gelatin silver print 13 3/4 x 10 3/4 inches WE1941 - 001 Weegee «Mayor LaGuardia at 123rd Street Police Station With Officials on Night of Riot», 1947 Vintage gelatin silver print 10 3/4 x 14 inches WE2004 - 014 Weegee «Victory Celebration», 1945 Vintage ferrotyped silver print 11 x 14 inches WE1945 - 001 Weegee «Children's Performance, at the Palace Theater», 1940 Vintage gelatin silver print 10 1/4 x 13 1/4 inches WE2004 - 015 Weegee «Mother and Daughter, Tenement Fire, Harlem» [I cried when I took this picture], 1942 Vintage gelatin silver print 10 1/4 x 13 3/8 inches WE2004 - 012 Carleton Watkins «Mt. Broderick, Nevada Fall, 700 feet, Yosemite 1861», 1861 Albumen print from wet collodion negative 15 3/4 x 20 1/2 inches WAC1861 - 001 vitrine at gallery center - all works by Georgewith Plexi glass 24 x 24 inches SR1968 - 001 Constantin Brancusi «Brancusi dans l'atelier, autoportrait», 1915 Vintage gelatin silver print 9 x 6 3/4 inches Constantin Brancusi «Self Portrait», 1922 Vintage gelatin silver print 11 1/4 x 9 inches Andy Warhol «Self Portrait», 1966 Silkscreen ink and synthetic polymer paint on canvas 22 x 22 inches Andy Warhol «Buddhas», 1983 Graphite on paper 31 3/4 x 24 inches Courtesy of the Andy Warhol Foundation WA1983 - 001 Donald Judd «Untitled», 1966 - 7 Galvanized iron painted red (lacquer) 5 x 40 x 8 inches Courtesy Paula Cooper, New York JD1966 - 001 Weegee «The Critic», 1943 Vintage gelatin silver print 11 x 14 inches WE1943 - 001 Weegee «The Flower Seller», 1941 Vintage gelatin silver print 13 3/4 x 10 3/4 inches WE1941 - 001 Weegee «Mayor LaGuardia at 123rd Street Police Station With Officials on Night of Riot», 1947 Vintage gelatin silver print 10 3/4 x 14 inches WE2004 - 014 Weegee «Victory Celebration», 1945 Vintage ferrotyped silver print 11 x 14 inches WE1945 - 001 Weegee «Children's Performance, at the Palace Theater», 1940 Vintage gelatin silver print 10 1/4 x 13 1/4 inches WE2004 - 015 Weegee «Mother and Daughter, Tenement Fire, Harlem» [I cried when I took this picture], 1942 Vintage gelatin silver print 10 1/4 x 13 3/8 inches WE2004 - 012 Carleton Watkins «Mt. Broderick, Nevada Fall, 700 feet, Yosemite 1861», 1861 Albumen print from wet collodion negative 15 3/4 x 20 1/2 inches WAC1861 - 001 vitrine at gallery center - all works by GeorgeWith Officials on Night of Riot», 1947 Vintage gelatin silver print 10 3/4 x 14 inches WE2004 - 014 Weegee «Victory Celebration», 1945 Vintage ferrotyped silver print 11 x 14 inches WE1945 - 001 Weegee «Children's Performance, at the Palace Theater», 1940 Vintage gelatin silver print 10 1/4 x 13 1/4 inches WE2004 - 015 Weegee «Mother and Daughter, Tenement Fire, Harlem» [I cried when I took this picture], 1942 Vintage gelatin silver print 10 1/4 x 13 3/8 inches WE2004 - 012 Carleton Watkins «Mt. Broderick, Nevada Fall, 700 feet, Yosemite 1861», 1861 Albumen print from wet collodion negative 15 3/4 x 20 1/2 inches WAC1861 - 001 vitrine at gallery center - all works by George Ohr

The attack involved the creation of a spoofed fingerprint using a photograph of the owner's fingerprint and the use of a Brother MFC - J5910DW printer equipped with silver conductive ink cartridges and transparent film supplied by AgiC.

A photograph of an old barn taken by my sister and made into a greeting card and on the wall next to the painting are two pen and ink sketching I did long ago that I matted with burlap.