Sentences with phrase «picture plane from»

Through the careful application of surface treatments on walls, calculative placement of thin, angular, wood sculptures and the addition of signature painted fragments, Amm constructs a visual picture plane from the tangible gallery space.

Movement into the picture plane from one or more of its edges and dynamic placement became favoured Bush motifs.

Not exact matches

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Duke officials had to receive clearance from aeronautical authorities in Washington for a plane to fly overhead for pictures, which the public - address announcer informed the crowd about beforehand lest anyone think the enemy was attacking.

This picture window into intergalactic space has been polished clear: when we look toward Leo's tail we're gazing 90 degrees (straight up) from the plane of our own Milky Way.

This open - access technology combines satellite images with even better pictures taken from planes and on the ground.

In this picture, H. M.'s brain is being sliced in a plane roughly parallel to the face, in the same orientation as an image from a typical brain scan.

We like to watch movies on the plane, but also download pictures from sim cards immediately, to make room for more.

Im sitting on my plane waiting for the lightning in Long Island to stop striking near JFK so that we can take off and desperately wishing that I could upload pictures from an iPhone or an iPad to my blog, which alas I can't do.

By contrast, the brilliant «Paprika,» directed by Satoshi Kon — a masterly example of Japanese anime, intended for adults — is partly hand drawn, and features multiple areas of visual activity layered at different distances from the picture plane.

«Admission,» Stephen Trask, composer «Ain't Them Bodies Saints,» Daniel Hart, composer «All Is Lost,» Alex Ebert, composer «Alone Yet Not Alone,» William Ross, composer «The Armstrong Lie,» David Kahne, composer «Arthur Newman,» Nick Urata, composer «At Any Price,» Dickon Hinchliffe, composer «Austenland,» Ilan Eshkeri, composer «Before Midnight,» Graham Reynolds, composer «The Best Man Holiday,» Stanley Clarke, composer «The Book Thief,» John Williams, composer «The Butterfly's Dream,» Rahman Altin, composer «The Call,» John Debney, composer «Captain Phillips,» Henry Jackman, composer «Closed Circuit,» Joby Talbot, composer «The Company You Keep,» Cliff Martinez, composer «The Conjuring,» Joseph Bishara, composer «Copperhead,» Laurent Eyquem, composer «The Counselor,» Daniel Pemberton, composer «The Croods,» Alan Silvestri, composer «Despicable Me 2,» Heitor Pereira, composer «Elysium,» Ryan Amon, composer «Ender's Game,» Steve Jablonsky, composer «Enough Said,» Marcelo Zarvos, composer «Epic,» Danny Elfman, composer «Ernest & Celestine,» Vincent Courtois, composer «Escape from Planet Earth,» Aaron Zigman, composer «Escape from Tomorrow,» Abel Korzeniowski, composer «Evil Dead,» Roque Baños, composer «47 Ronin,» Ilan Eshkeri, composer «42,» Mark Isham, composer «Free Birds,» Dominic Lewis, composer «Free China: The Courage to Believe,» Tony Chen, composer «Fruitvale Station,» Ludwig Goransson, composer «G.I. Joe: Retaliation,» Henry Jackman, composer «Gangster Squad,» Steve Jablonsky, composer «Gravity,» Steven Price, composer «The Great Gatsby,» Craig Armstrong, composer «The Hangover Part III,» Christophe Beck, composer «Hansel & Gretel Witch Hunters,» Atli Örvarsson, composer «Haute Cuisine,» Gabriel Yared, composer «Her,» William Butler and Owen Pallett, composers «The Hobbit: The Desolation of Smaug,» Howard Shore, composer «Hollywood Seagull,» Evgeny Shchukin, composer «Hours,» Benjamin Wallfisch, composer «How Sweet It Is,» Matt Dahan, composer «The Hunger Games: Catching Fire,» James Newton Howard, composer «Identity Thief,» Christopher Lennertz, composer «The Incredible Burt Wonderstone,» Lyle Workman, composer «Insidious: Chapter 2,» Joseph Bishara, composer «Instructions Not Included,» Carlo Siliotto, composer «The Internship,» Christophe Beck, composer «The Invisible Woman,» Ilan Eshkeri, composer «Iron Man 3,» Brian Tyler, composer «Jack the Giant Slayer,» John Ottman, composer «Jobs,» John Debney, composer «Kamasutra 3D,» Sreejith Edavana and Saachin Raj Chelory, composers «Labor Day,» Rolfe Kent, composer «Lee Daniels» The Butler,» Rodrigo Leão, composer «Live at the Foxes Den,» Jack Holmes, composer «Love Is All You Need,» Johan Söderqvist, composer «Mama,» Fernando Velázquez, composer «Man of Steel,» Hans Zimmer, composer «Mandela: Long Walk to Freedom,» Alex Heffes, composer «The Missing Picture,» Marc Marder, composer «Monsters University,» Randy Newman, composer «The Mortal Instruments: City of Bones,» Atli Örvarsson, composer «Mud,» David Wingo, composer «Murph: The Protector,» Chris Irwin and Jeff Widenhofer, composers «Now You See Me,» Brian Tyler, composer «Oblivion,» Anthony Gonzalez and Joseph Trapanese, composers «Oldboy,» Roque Baños, composer «Olympus Has Fallen,» Trevor Morris, composer «Oz The Great and Powerful,» Danny Elfman, composer «Pacific Rim,» Ramin Djawadi, composer «Pain & Gain,» Steve Jablonsky, composer «Percy Jackson: Sea of Monsters,» Andrew Lockington, composer «Philomena,» Alexandre Desplat, composer «The Place beyond the Pines,» Mike Patton, composer «Planes,» Mark Mancina, composer «Prisoners,» Jóhann Jóhannsson, composer «R.I.P.D.,» Christophe Beck, composer «Reaching for the Moon,» Marcelo Zarvos, composer «Romeo & Juliet,» Abel Korzeniowski, composer «Runner Runner,» Christophe Beck, composer «Rush,» Hans Zimmer, composer «Safe Haven,» Deborah Lurie, composer «Salinger,» Lorne Balfe, composer «Saving Mr. Banks,» Thomas Newman, composer «The Secret Life of Walter Mitty,» Theodore Shapiro, composer «Short Term 12,» Joel P. West, composer «Side Effects,» Thomas Newman, composer «The Smurfs 2,» Heitor Pereira, composer «The Spectacular Now,» Rob Simonsen, composer «Star Trek Into Darkness,» Michael Giacchino, composer «Stoker,» Clint Mansell, composer «Thor: The Dark World,» Brian Tyler, composer «Tim's Vermeer,» Conrad Pope, composer «Trance,» Rick Smith, composer «Turbo,» Henry Jackman, composer «12 Years a Slave,» Hans Zimmer, composer «2 Guns,» Clinton Shorter, composer «The Ultimate Life,» Mark McKenzie, composer «Unfinished Song,» Laura Rossi, composer «Wadjda,» Max Richter, composer «Walking with Dinosaurs,» Paul Leonard - Morgan, composer «Warm Bodies,» Marco Beltrami and Buck Sanders, composers «We Steal Secrets: The Story of WikiLeaks,» Will Bates, composer «We're the Millers,» Theodore Shapiro and Ludwig Goransson, composers «What Maisie Knew,» Nick Urata, composer «Why We Ride,» Steven Gutheinz, composer «The Wind Rises,» Joe Hisaishi, composer «Winnie Mandela,» Laurent Eyquem, composer «The Wolverine,» Marco Beltrami, composer

INCLUDES 1 Hands - On Standards Math Teacher Resource Guide Grade K with 43 lessons TOPICS Counting and Cardinality Counting On Counting 0 - 5 Number shapes Groups of 6 - 10 Estimate and count Arranging sets of objects Representing numbers with objects Comparing groups Equal groups More and fewer More than, less than, same as Order of numbers Operations and Algebraic Thinking Joining problems Using the plus and minus sign Separating problems Sums and differences to and from ten Decomposing numbers Number and Operations in Base Ten Compose and decompose numbers 11 - 19 Measurement and Data Nonstandard measurement of height Sorting by height and length Estimating and measuring length Sort by one or two attributes Determine the sorting rule Geometry Left and right Top, middle, and bottom Positions on a line Relative locations Inside and outside Before and after Plane shapes and real - life objects Geometric pictures and designs Attributes of plane shapes Cubes and spheres Exploring shape attributes Shape attributes riPlane shapes and real - life objects Geometric pictures and designs Attributes of plane shapes Cubes and spheres Exploring shape attributes Shape attributes riplane shapes Cubes and spheres Exploring shape attributes Shape attributes riddles

But a picture of people in the subway from The New York Times lacked the necessary depth to show subjects in the fore and back of the frame, so all the figures appeared to be on the same plane.

A couple of air planes, clouds, trees apart from a light and a car form the other details of this picture.

Since the beginning of the 20th century, the artist's handling of the picture plane has shifted dramatically from the «window on the world» first described by theorist Leon Battista Alberti in the 15th century.

Maher creates dynamic sculptures from concrete, aluminum, and resin; in his vibrant paintings, Dunlap divides the picture plane into interlocking geometries of shape and color; in video and sculptural works, Tenser considers autonomy and dependence.

Writing in a brochure that accompanied a 2004 Drexler survey show in Philadelphia, Robert Storr noted how at times her «formats borrowed from contemporaneous hard - edge abstraction, in particular grid - based divisions of the picture plane that slyly allude to Barnett Newman... as well as Ellsworth Kelly and Al Held.»

He departs from the straight - ahead views for that butterfly in profile, so that the black and yellow of its wings can hold the picture plane as well.

«From the way he handles paint, imagery, and the picture plane, it is clear that it is what Zachary is here to do.»

There is a well - worn narrative of twentieth century painting that goes like this: From Cezanne to Picasso to Pollock, the illusionistic space of painting flattened more and more until the picture plane and the surface created by the paint itself became the primary subject matter, eliminating images altogether in favor of abstraction.

Due to the rapid revolution of the plates, together with a systematical range of circles the prints contain an irregularly spreading field of paint, as though the artist's sharp sensitivity is being diffused from within the picture plane to the outside world.

Subjects stand oddly close to or far from the picture plane, refusing a unity or a center.

JMcK: You play with the gallery space just as Capability Brown played with the landscape, both big steps in conceptual terms away from the strictures of the picture plane, and from easel painting.

Minimalism's proponents, including Donald Judd, Dan Flavin and Carl Andre, had themselves learnt much from the use of real space and light and the rejection of picture - plane illusionism in Fontana's art.

Work in the exhibition ranges from deceptively simple, geometric work that consciously embraces the flatness of the picture plane, to those using complex interactions of planar -LSB-...]

That compression also results from blocking a view out a window or bringing everything smack against the picture plane.

He asks the viewer whether it is possible to distinguish different planes, foreground from background - the form of a traditional picture

Men almost get their way with women, but the women press closer to the picture plane and slide further from anonymity into myth.

Mental maps form the basis of his working method: they push against the edges of the picture plane; his larger paintings exceed a strictly 2D plane, being more like relief sculptures, employing layer upon layer of collaged forms — abstract painting, ephemera from travel, photography and juxtaposed linear structures — to denote the performative aspect of his initial research.

The broad, nested bands of Pratfall, from 1974, show not a trace of anything beyond the picture plane.

Whereas other skulls from the period had housed sprawling networks of symbols, here the chaotic pulsations of his psyche explode outwards into the surrounding picture plane.

As a student in 1949 at the Art Students League of New York, for example, he laid paper on the floor of the building's entrance to capture the footprints of those entering and exiting.10 The creation of receptive surfaces on which to record, collect, or index the direct imprint of elements from the real world is especially central to the artist's pre-1955 works.11 Leo Steinberg's celebrated 1972 article «Reflections on the State of Criticism» isolated this particular approach to surface as collection point as the singular contribution of Rauschenberg's works of the early 1950s, one which galvanized a new position within postwar art. 12 Steinberg coined the term «flatbed picture plane» to account for this radical shift, through which «the painted surface is no longer the analogue of a visual experience of nature but of operational processes.»

In my 3D work I combine pencil lines with pre-designed Lucite ovals that have been manipulated with paper and paint and are suspended away from the traditional picture plane.»

Rauschenberg's use of found objects and everyday materials in the combines to invade and subvert the pristine nature of the picture plane has both elicited critical attention and influenced a variety of artists, from Joseph Beuys and Andy Warhol to Bruce Nauman and Sigmar Polke.

Equally important, however, is his respect for the integrity of the picture plane in these works, a respect that stems from his admiration for and emulation of the generation of Abstract Expressionist painters that came before him, including Willem de Kooning and Clyfford Still.

From 1967 to 1973, Thornton Willis worked on a series of paintings now called his «Slat Series» involving a «wet on wet» process working on the floor on large wet unstretched canvas and using rollers with long extension handles to develop striped bands across the entire picture plane.

The exhibiton will feature works from Donovan's latest series, Compositions (Cards), wall - mounted framed works in various sizes that explore stratification as both a sculptural technique and a means to construct a two - dimensional picture plane.

These painting - strata remain distinct from each other, rather than resolving into one cohesive and flat picture - plane.

Nonetheless, Greenberg maintained that this advancement from subject matter towards the flatness of the picture plane was part of a continuum — an evolution that began with Manet, who he held created the first «Modernist pictures,» and saw its flowering in Abstract Expressionism.

In works such as The Dreamer, Ridgway cuts hundreds of tiny pieces from the paper to have their hanging shapes open the surface of the picture plane and cast shadows over the composition.

Calcago isn't just dividing the picture plane - you'd have to posit some effect of Frank Stella here - but segmenting three distinct shapes of the painting, descending in color from lemon yellow, to tangerine, red, purple, umber, blue to black, black back to yellow.

Look at Three Women (1921 - 22): the bends in the leftmost woman's hair are realistic, getting darker as the hair recedes from the picture plane.

Narrator: The cigarettes, pipe, matches, and newspaper in this still life all angle subtly away from the picture plane.

Fugue paintings, observed from a distance, appear airy and atmospheric, a hazy veil of color suspended somewhere just before the picture plane.

Frank Stella in his symmetry breaking, Ellsworth Kelly in his identification of form with the picture plane, Brice Marden in his lush opacity, or Robert Ryman combining of all these seemed once far different from prewar geometric composition.

Their separation makes it all the more impressive to note the correspondence of the shapes, those black bow ties and the red and yellow «biomorphs,» from the plane of the Miró pictures to the wooden Calder forms (not the usual sheet metal of Calder's pieces).

Using techniques and materials ranging from pop colored inks, gradient monoprinting, loose watercolors, acrylic paint, crayon, and sharpie crosshatching, Lederer creates images that walk the line between wry playfulness, and deep - seated fears, all the while deconstructing the picture plane and drawing parallels between the digital and the analog.

Bolotowsky was evidently also inspired by Picasso's Studio of 1927 — 28 (on view at the Museum of Modern Art from 1935 onward), with its heavy black outlines and its geometric forms lying flat within the picture plane.

Starting out from purely graphic marks, he developed a kind of meta - script in which abbreviated signs, hatchings, loops, numbers and the simplest of pictographs spread throughout the picture plane in a process of incessant movement, repeatedly subverted by erasures.

The object - like, narrative motif, which in earlier works fractured the reference of the monochrome, has been removed from the now empty picture plane and fixed at the side of the canvas.