Sentences with phrase «saw his photograph american»

LRF: I realized the potential for using the camera as a weapon as described by Gordon Parks in his autobiography A Choice of Weapons [1966] when I first saw his photograph American Gothic [1942] in my photography class in 2000 when we were given an assignment to show a photograph with what Roland Barthes called a punctum (the thing that pricks you) and a studium (the subject) in a photograph.

Not exact matches

SCIENTIFIC AMERICAN ONLINE See photographs of scientists doing the glacier and ocean fieldwork described in this article at ScientificAmerican.com/jul2012 / antarctica

A group of American space scientists from the Massachusetts Institute of Technology (MIT) saw and photographed the lunar lander and a return module during a visit to the Moscow Aviation Institute last November.

Albrecht Goertz's gorgeous 503 could not have come at a worse time for BMW, as Douglas Blain explains in Drama Queen / In 1966 and All That, Steve Welsh reports from the unrivalled Goodwood Revival historic race meeting, which this year marked 50 years since Australian driver Jack Brabham won the Formula One World Championship in a car of his construction / Kit Foster tells the story of the American Underslung, the first American sports car, and examines one of the prized survivors of this pioneering but short - lived marque in Swing low, sweet chariot / In his article, Cross-Channel concours, Jörg Sierks chooses his favourites from two prestigious concours events, held on the same weekend on opposite sides of the English Channel / With the help of rarely seen archive photographs, D'Arcy Lever looks back at the highly effective trials specials built by Sydney Allard before World War Two.

While we would all like to see what GM has been doing with the next addition to the Caddy lineup, the car in the photographs posted on Autoblog simply does not match up to the proportions of the XTS we saw at the 2010 North American International Auto Show, which essentially was a show car, in the same way the Chevrolet Cruze Hatch on display in Paris was a show car.

It's not new, but it's new for Chicago and it's a chance for more Americans to see the car in the flesh instead of in photographs.

I'd love to include a fascimile of my poppy (scrap) book, but So much of it involves written communication and photographs of private groups, the legal CYA is such a headache to even think about that I haven't done anything about writing it for years, though a lot of vets in general and the American Legion in particular would like to see more light shined on disabled vets.

Where: Los Angeles Miles from highway: 5.8 Another must - see museum in Los Angeles, the Getty Center displays its collection — from pre-20th-century European paintings, drawings, and sculpture to 19th - and 20th - century American, European, and Asian photographs — in pavilions around a central garden.

National Historic Site, where you'll learn more about the man and his legacy; Charleston's Boone Hall Plantation & Gardens, America's most photographed plantation and where you'll tour the mansion, see the slave cabins, and visit the beautiful gardens; and Savannah's American Prohibition Museum, bringing the roaring 20s to life.

Hackett's curatorial projects during her tenure at the AGO include Barbara Kruger: Untitled (It)(2010); Songs of the Future: Canadian Industrial Photographs, 1858 to Today (2011); Max Dean: Album, A Public Project (2012); What It Means To be Seen: Photography and Queer Visibility and Fan the Flames: Queer Positions in Photography (2014); Introducing Suzy Lake (2014); and Outsiders: American Photography and Film, 1950s — 1980s (2016).

Ansel Adams (American, 1902 - 1984) Five Photographs of Yosemite Valley: Including views of Nevada Fall, Mirror Lake, Half Dome as seen from Glacier Point, and Yosemite Valley under snow, c. 1930.

SECURING THE SHADOW: POSTHUMOUS PORTRAITURE IN AMERICA Americans once regularly commissioned portraits of their dead relatives, as seen in this major show of post-mortem images, ranging from 18th - century gravestone carvings to photographs.

Image: Fred Wilson (American, b. 1954) I Saw Othello's Visage in His Mind (detail), 2013 Murano glass and wood Photograph by Kerry Ryan McFate @ Fred Wilson, courtesy Pace Gallery

While best known for his seminal series The Americans (1958), the exhibition at Bowdoin brings together a selection of nearly 50 rarely seen photographs from 1947, the year the artist first moved to the United States from Switzerland, to 1961, when he was featured in his first major museum exhibition.

Two rarely seen Dorothea Lange photographs about the incarceration of Japanese Americans by the U.S. during WWII will also be on view in the exhibition.

The public will have a unique chance to see early photographs, painting, and prints, as well as one of the first examples of American avant - garde cinema, Mannhata, made by Paul Strand and Charles Sheeler.

She realized the potential of her artmaking when she saw Gordon Parks's photograph American Gothic for the first time.

Rarely seen photographs and primary source materials including letters, artists» handwritten notes, and personal effects from the Smithsonian's Archives of American Art are featured in this -LSB-...]

Titled «Ain't I a Woman,» after Sojourner Truth's famous speech that demanded African - American women be included in the struggle for women's rights, these pieces link painted portraits with videos in which we see Thomas's muses posing for photographs.

Lehr addressed the significance of American identity in his work, speaking of his interest in photographing what he referred to as «an ecosystem of commerce» and cheap, plastic trinkets that he sees as «coded objects.»

What to see at the museum The large collections of fine arts of the Smithsonian American Art Museum include paintings, sculptures, drawings, prints, photographs, installations, videos and new media, ranging from early colonial times to contemporary American authors such as Nam June Paik, Barbara Bosworth, Robert Longo, Sean Scully and Jim Campbell, among others.

It was a small retrospective of her photographs and it was one of the first times I'd seen contemporary work by an African - American woman.

Johnson, who was 24 years old at the time and the youngest artist in the exhibition, presented photographs from his Seeing in the Dark series of portraits of homeless African American men in Chicago.

American artist Chuck Close rose as a prominent Photorealist painter, who made his name with huge, billboard - sized paintings of himself and his friends, reproduced from photographs in painstaking detail, seen in the minutely detailed texture of the skin and hair of his subjects.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Pphotographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

In Highway Kind, we see Justine Kurland's on - the - road photographs as if through a film of fantasy - a very masculine, very American fantasy, about freedom and self - reliance and the big wide open.

Organized around each of these cities and families, Gordon Parks: Back to Fort Scott features previously unpublished photographs as well as a seven - page draft of Parks» text for the article, and presents a rarely seen view of the everyday lives of African American citizens years before the civil rights movement began in earnest.

Two figures, one in disconcertingly martial camouflage, the other wearing what looks like a woolly hat, but is apparently supposed to represent his brain, were inspired by people seen at an ice hockey match in New York, while a top - knotted figure pointing a video camera hints overtly at the current impulse to photograph distressing scenes rather than intervene — as in the recent incident when American youths laughed at and filmed a drowning man.

His 1938 Museum of Modern Art exhibition, American Photographs, was seen by more photographers than probably any other photography show of its day.

While you're at the museum, pop in to see the show «Real American Places: Edward Weston & «Leaves of Grass,»» which features the portfolio of photographs that Weston made to accompany Walt Whitman's seminal poem.

More crucially, she was championed by American critic Rosalind Krauss, who saw her photographs — perhaps somewhat predictably — as an attempt to resist the male gaze (Krauss has written that Woodman exhibits a tendency to «camouflage» herself, attempting to «hide» even as she stands in front of the camera).

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

★ Luigi Ghirri: «Kodachrome» (closes on Saturday) The photographs of Luigi Ghirri (1943 - 92), as seen in this show of selections from his 1978 book, «Kodachrome,» sometimes bring to mind American color photography by William Eggleston and Joel Sternfeld but have a dreamier quality and a more persistent sense of artifice.

Including paintings, drawings, prints, photographs, and sculptures, American Modern brings together some of the Museum's most celebrated masterworks, contextualizing them across mediums and amid lesser - seen but revelatory works by artists who expressed compelling emotional and visual tendencies of the time.

The works in the exhibition focus on Kelly's mastery in black and white, and include rarely - seen drawings, paintings, photographs, and sculptures, which span the career of one of the most important figures in American postwar art.

2008 30 Americans, Rubell Family Collection, Miami, FL Group Show, Andréhn - Schiptjenko, Stockholm, Sweden Belle du Jour, Collette Blanchard Gallery, New York, NY 21: Selections of Contemporary Art from the Brooklyn Museum, Brooklyn Museum, Brooklyn, NY As Others See Us: The Contemporary Portrait, Brattleboro Museum and Art Center, Brattleboro, VT The Other Mainstream II: Selections from the Collection of Mikki and Stanley Whithorn, Arizona State University Art Museum, Tempe, AZ Becoming: Photographs from the Wedge Collection, Museum of Contemporary Art, Detroit, MI City Stage, New Orleans Contemporary Art Center, New Orleans, LA Black Is, Black Ain't, Renaissance Society, The University of Chicago, Chicago, IL Perverted by Theater, apexart, New York City, NY Performed Identity, Kathleen Cullen Fine Arts, New York City, NY

Milwaukee, Wis. — May 1, 2018 — Visitors to the Milwaukee Art Museum will have the opportunity to see some of the first photographs of beloved American natural landscapes in the upcoming exhibition Photographing Nature's Cathedrals: Carleton E. Watkins, Eadweard Muybridge and H. H. Bennett from May 18 — August 26, 2018.

Visitors to the Milwaukee Art Museum will have the opportunity to see some of the first photographs of beloved American natural landscapes in the upcoming exhibition

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

William Anders (American, b. 1933) First Earthrise seen by human eyes, second color photograph, Apollo 8, December 1968.

In this piece, he has tackled the most American of images in a clear homage to Jasper Johns, composing Old Glory with stars and stripes made out of vegetation photographed from high above — creating a tableau that forces the viewer to shift focus, seeing either the image represented (the flag) or the material that produces it (plants), but never both.

Throughout his career, he has employed various media to cite and subtly parody the visual and verbal clichés of American popular culture — whether in the «Cowboys» series in which he «re - photographed» the mythic cowboy imagery of Marlboro adverts, or the celebrated series of «Nurse» paintings based on the covers of pulp fiction novels which these nudes can be seen to relate to.

curated by David Hunt 2005 NAPOLI PRESENTE Posizioni e Prospettive dell - Arte Contemporarea, PAN Contemporary Art Museum, Naples Italy (Oct) Wish, COCA Center of Contemporary Art, Seattle WA (Sept) Only Skin Deep: Chancing Visions of the American Self, San Diego Museum of Art and Museum of Photographic Arts, CA, curated by Coco Fusco (catalogue) Crossings: 10 artists from Kaohsiung & Chicago Chicago Cultural Center (July), Museum of Fine Art, Kaohsiung, Taiwan (Nov), co-curated by Greg Knight & Tseng Fangling International Biennale of Contemporary Art 2005, Prague (May - Sept) In Search of a Continuous Present curated by Lynne Warren, MCA Chicago Not Too Loose and Not Too Tight, DCKT Contemporary, New York 2004 Only Skin Deep: Chancing Visions of the American Self, Seattle Art Museum, WA curated by Coco Fusco (catalogue) A Perfect Union... More or Less, Renaissance Society at the University of Chicago curated by Hamza Walker About Face: Photographic Portraits from the Collection, Art Institute of Chicago Common Ground: Discovering Community in 150 Years of Art, Corcoran Museum of Art, Washington, DC Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum, NY The Perfect Number, 404contemporanea, Naples, Italy 2003 Only Skin Deep: Chancing Visions of the American Self, ICP New York curated by Coco Fusco (catalogue) The Squared Circle: Boxing in Contemporary Art, Walker Art Center Minneapolis curated by Olukemi Ilesanmi A Century of Collection: African American Art, Art Institute of Chicago curated by Daniel Schulman 2002 Manumission Papers, Sunrise Museum, Charleston, WV Cut, Pulled, Colored, and Burnt, Hyde Park Art Center, Chicago, IL curated by Michael Rooks 2001 Freestyle, Studio Museum in Harlem, NY curated by Thelma Golden Bastard (son of hot sauce), Law Office, Chicago IL Musings: Contemporizing Tradition Gallery 312, Chicago, IL curated by Kathryn Hixson and Nathan Mason 2000 A Decade of Acquisitions, Detroit Institute of Arts, Detroit, MI 1999 Seeing In the Dark, G.R. N'Namdi Gallery, Birmingham, MI, Chicago, IL New Artists, Old Techniques, Schneider Gallery, Chicago, IL

Lee Friedlander: The Cray Photographs: The ace American photographer was commissioned by Cray Research - originator of the supercomputer - to produce this seldom seen 1986 portfolio.

Audience You mentioned Whistler and inspirations on the colours and Andrew Wyeth and Edward Hopper but I see a lot of Gerhard Richter in here, which is why I asked that question because he does work on a larger scale, almost painting the photograph, makes the painting look like a photograph, and so it was just a comment but I see a lot of him... Being an American I don't really see Edward Hopper, but I see a lot of Richter especially this one (referring to the painting «Help» in this show) that you want to finish again.

They erected a scientific device right next the American flag you see being raised in Joe Rosenthal's iconic photograph of the 2nd flag raising on Iwo Jima.