Sentences with phrase «pigment prints in»

«LIMINAL GROUND: Adam Bartos Long Island Photographs, 2009 - 2011» presents 16 evocative pigment prints in a large - scale format revealing often overlooked places because of their off - the - grid locations or ordinary nature.

These works are available as color pigment prints in three sizes, each an edition of five.

Described by curator Helaine Posner as «an elegant group of pigment prints in which an image is formed by freezing a sequence of moments...

Photographic pigment prints in plastic sleeves mounted atop brushed aluminum stanchions were, for this installation, dispersed throughout the building.

Juliana Paciulli,Uh - huh (Witch Hat), 2015, Archival pigment print in artist's frame, 28x39 inches.

Digital pigment print in colours, signed and dated in pencil, numbered 12/50.

The highlight of this year's exhibition will be the debut of Aten Reign (2015), James Turrell's large - scale archival pigment print in vibrant shades of blue.

Kelly Kristin Jones, Attack From the West (detail), 2017, Archival pigment print in custom maple frame, 62H x 42W x 2.75 D inches

There is a stunning archival pigment print in Charlie Rubin's new exhibition at Kopeikin Gallery titled All Your Dreams Belong To Us.

Uta BARTH In the Light & Shadow of Morandi (17.02) 2017 Face mounted, raised, shaped, Archival Pigment print in artist frame 48 3/4 x 52 3/4 inches; 123.8 x 134 cm Edition of 6; 2 APs

Untitled (17.11) 2017 Archival Pigment print in artist frame (welded aluminum, optium) 75 1/2 x 130 inches; 191.8 x 330.2 cm (total) 75 1/2 x 64 7/8 inches; 191.8 x 164.8 cm (each panel) Edition of 6; 2 APs Edition 1 of 6 (TBG 18016)

Uta BARTH Untitled (17.06) 2017 Archival Pigment print in artist frame (welded aluminum, optium) 75 3/8 x 64 7/8 inches; 191.5 x 164.8 cm Edition of 6; 2 APs

Not exact matches

high - definition graphics at a print resolution as high as 1200 x 1200 dpi — unmatched by any known pigment ink based solution of its class in the market today!

And it's all printed in the US with non-toxic pigment dyes.

I'm currently in love my KT Merry Print Shop and Pixels & Pigment art pieces.

Her images depend on precisely applying a photo image to metal; embedding minerals, crystals and glowing pigments in resin; and then applying this mixture onto the print.

Jessica Eaton, Additive Colour Wheel in 12 parts: swatches mixed in camera via filtration of the primaries Red, Green, Blue, Triangular Pyramid base paint 9 % Grey, 2012, archival pigment print, 50 x 40 inches.

BOB ADELMAN (1930 - 2016) Roy Lichtenstein filling spots in the red Benday dots with a tiny spotting brush photograph 1986 (printed later) archival pigment print, edition 1/20, signed paper size > 30 x 20.5 inches

BOB ADELMAN (1930 - 2016) Andy Warhol in the silver - foil covered bathroom at his Factory photograph 1965 (printed later) archival pigment print, AP, signed paper size > 12 x 16 inches

The pictures in By the Sea are all digital pigment prints taken at, or close to, the ocean's edge.

Shown, DREAD SCOTT, «On the Impossibility of Freedom in a Country Founded on Slavery and Genocide, performance still,» 2014 (pigment print).

BOB ADELMAN (1930 - 2016) James Rosenquist in his studio in front of the mural, «Star Thief» photograph 1981 (printed later) archival pigment print, AP, signed paper size > 30 x 15.75 inches

BOB ADELMAN (1930 - 2016) Lichtenstein with cheese gate in his 23rd street studio, NYC photograph 1980s (printed later) archival pigment print, AP, signed paper size > 22 x 14.5 inches

BOB ADELMAN (1930 - 2016) Andy Warhol in Gristedes with Campbell Soup Cans photo 1965 [printed later] archival pigment print, edition of 50 stamped by the Bob Adelman Estate, numbered paper > 16 x 20 inches

BOB ADELMAN (1930 - 2016) Roy Lichtenstein standing before «Perfect Painting # 1» in his studio photograph 1985 (printed later) archival pigment print, AP, signed paper size > 22 x 14 inches

BOB ADELMAN (1930 - 2016) Andy Warhol in the silver Factory photograph 1965 (printed later) archival pigment print, AP, signed paper size > 17 x 11 inches

BOB ADELMAN (1930 - 2016) Roy Lichtenstein demonstrating how to view the dancer in «Large Interior with Three Reflections» photograph 1993 (printed later) archival pigment print, AP, signed paper size > 17 x 10 inches

Each archival pigment print is proofed and printed by Ruddy at Digital Silver Imaging, one of the finest photography labs in the US.

BOB ADELMAN (1930 - 2016) Andy Warhol in the silver - foil covered bathroom at his Factory photograph 1965 (printed later) archival pigment print, edition 1/20, signed paper size > 12.25 x 18.75 inches

Consisting of about 50 color pigment print photographs produced in 2012 and 2013, the series charts several new developments — as well as some stunning departures — in her practice.

Akdogan often utilizes objects counter to their intended use — traditionally, colored gels for cinematic and theatrical lighting create distinct light conditions while remaining hidden from view; the artist extracts and edits the atmospheric and surface properties of these materials, often directly in the exhibition space — manipulating layers of color pigments, print, and light sources.

McCloud, who worked on construction sites for more than a dozen years, transitioned from design to visual art and now utilizes the industrial materials, tools and equipment with which he is so familiar, in combination with traditional pigment and woodblock printing techniques, to create his works.

BOB ADELMAN (1930 - 2016) James Rosenquist in his studio with the painting, «Big Bo,» 1966 photograph 1981 (printed later) archival pigment print, 1/20, signed paper size > 18.75 x 12.5 inches

In the background, «Four New Clear Women» photograph 1981 (printed later) archival pigment print, 1/20, signed paper size > 22 x 14.5 inches

The primary tool and subject of these works is her own body; using a messy oil - and - pigment technique gleaned from the «Body Prints» of David Hammons, she has been making process - rich self - portraits that feel simultaneously intimate and in - your - face.

BOB ADELMAN (1930 - 2016) Roy Lichtenstein poses below his version of Constantin Brancusi's Sleeping Muse in his New York apartment in 1983 photograph 1983 (printed later) archival pigment print, edition 1/20, signed paper size > 19 x 19 inches

BOB ADELMAN (1930 - 2016) Roy Lichtenstein in front of «Bauhaus Stairway; Large Version,» a mural for I. M. Pei's new building for the Creative Artists Agency, Inc, Los Angeles photograph 1989 (printed later) archival pigment print, edition 1/20, signed paper size > 30 x 22.25 inches

BOB ADELMAN (1930 - 2016) Tom Wesselman in his studio at 54 Bond Street photograph 1966 (printed later) archival pigment print, AP, signed paper size > 11.5 x 17 inches

BOB ADELMAN (1930 - 2016) James Rosenquist in his studio, working on the painting, «Fahrenheit 1982», currently in the collection of MOMA photograph 1981 (printed later) archival pigment print, AP, signed paper size > 30 x 20.5 inches

BOB ADELMAN (1930 - 2016) James Rosenquist in his studio with the painting, «Big Bo,» 1966 photograph circa 1980s (printed later) archival pigment print, AP, signed paper size > 12.75 x 19 inches

Pigmented inkjet print, acrylic, and spray paint on canvas, 96 x 112 in.

Linda Lindroth Marcel 2, 2011 Archival pigment print on Epson Hot Press Natural paper 26 x 24 in 4/12 The boxes and cartons are signage for the mysteries of form, like origami in rever...

In this show, we have juxtaposed images made in many different ways: handmade colour C - type prints and big pigment prints made on cotton paper, and a whole series of smaller, gelatin silver prints, in The Interior and the Exterior — Noah Purifoy (2014In this show, we have juxtaposed images made in many different ways: handmade colour C - type prints and big pigment prints made on cotton paper, and a whole series of smaller, gelatin silver prints, in The Interior and the Exterior — Noah Purifoy (2014in many different ways: handmade colour C - type prints and big pigment prints made on cotton paper, and a whole series of smaller, gelatin silver prints, in The Interior and the Exterior — Noah Purifoy (2014in The Interior and the Exterior — Noah Purifoy (2014).

Pigmented inkjet print, 22 1/2 × 15 in.

Gelatin silver print with pigment embellishments for reproductive purposes, image / sheet size 9 x 7 3/4 in.

She is exhibiting a series of pigment prints on paper, taken from her Viscera textile sculptures together with an installation of the sculptures themselves in the context of an ambient soundscape.

Digital pigment print (1 from a series of 30 unique prints forming a single work), 11 x 11 in.

Pigmented inkjet print, 40 x 30 in (101.6 x 76.2 cm).

Using archival pigment print and processing techniques that isolate the aircraft in the image, Milstein focuses on color and design to achieve maximum clarity in his images, which the Smithsonian National Air and Space Museum mounted in a solo exhibition entitled AirCraft: The Jet as Art in 2011.

BOB ADELMAN (1930 - 2016) Andy Warhol in the silver - foil covered bathroom at the Factory photograph 1965 (printed later) archival pigment print, numbered AP (unique), signed paper size > 12 x 16 inches