Sentences with phrase «scale images of cities»

Not exact matches

Though we're assuming that the above image is a target screen rather than an actual in - game image, developer City Interactive is promising that the use of Epic Games» ubiquitous engine is allowing them to create an Xbox Live Arcade title that boasts «visually stunning, large - scale environments with impressive long - range vistas and expressionistic lighting.»

The final skirmish is not on a scale anywhere near as huge as the first film's climax, while the images of Roland Emmerich - scale city destruction are so brief there's hardly a frame of it in the film not featured in the trailer.

Mr. Longo was 31 then and already famous for his «Men in the Cities» series, large - scale drawings of besuited men and women flailing in space that became defining images of 1980s New York (and appeared in the movie version of American Psycho).

She has curated a number of large - scale exhibitions of film and video including Scream and Scream Again: Film in Art and Into the Light: The Projected Image in American Art 1964 - 1977, awarded best thematic exhibition in New York City by the International Association of Art Critics.

Conceptual artist Hank Willis Thomas will recreate a city block with a series of 1:1 scale photographs of North Philadelphia's people and buildings, installed in the galleries of the PPAC, inviting audiences to consider issues related to gentrification, and setting the stage for public forums and a crowd - sourced neighborhood image archive and exhibition.

Layered in image & texture, monumental in - scale, and featuring bold strokes, free gestures, and vibrant colors, works from 1985 to 2005 record in an abstract vein a period of intensified cultural and demographic transition even for an ever - changing city like New York.

The New Portraits images, which originally debuted in Gagosian's Madison Avenue location in New York City in 2014, are large - scale reproductions of Instagram posts taken from largely unknown (non-celebrity) strangers that Prince found on the social media platform.

State University, Atlanta GA Juror Choice Award, Ninth Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ 2004 Self - Inflicted, Fe Gallery, Pittsburgh PA Flow, Sun Trust Plaza Gallery, Atlanta GA Rampant, Fe Gallery, Pittsburgh PA Painted Realities, Lamar Dodd Art Center, LaGrange GA 2003 Film / Video GA, MOCA GA, Atlanta GA Animation Impulse: Video Art and the Generated Image, Cheekwood Museum of Art, Nashville, TN Animation Extravaganza, 27th Annual Atlanta Film Festival, Atlanta, GA Juror Choice Award, Seventh Annual Arizona State University Art Museum Short Film and Video Festival, Tempe, AZ Looks Good on Paper, Second Edition, Spruill Gallery, Atlanta, GA 2002 Georgia Triennial, City Gallery East, Atlanta, GA Georgia Triennial, Museum of Arts and Sciences, Macon, GA 2002 Georgia Triennial, Telfair Museum of Art, Savannah, GA Georgia Triennial, Albany Museum of Art, Albany GA Wild Life: The Other Tradition, Polk Museum of Art, Lakeland FL 2001 Art and Science International Exhibition, National Gallery of Art, Beijing, China Hardware, Eyedrum, Atlanta, GA 2000 Do It, Atlanta College of Art Gallery, Atlanta, GA Cute, Georgia Museum of Art, University of Georgia, Athens, GA 1998 Boy Toys, Nexus Contemporary Art Center, Atlanta, GA Scale, Relatively Speaking, Art in General, New York, NY 1997 My Big Back Yard, Art in General, New York, NY

The resulting mashup images may seen beyond the realm of possibility, but considering the scale of buildings and cities emerging out of the nether in the Middle East and Asia, the actual context may not be too farfetched.

The result is a mesmerizing exploration of natural form in which perspective and scale are in constant flux, the data points coalescing for a moment to create an image that is almost hyper - real in its detail, and in the next dispersing into glowing abstractions that might be galaxies or cities at night.

Three exhibitions currently on view in New York City — Stuart Davis: In Full Swing, Carmen Herrera: Lines of Sight, and the Hilma af Klint exhibition that is secreted within The Keeper exhibition at the New Museum — provide object lessons on the necessity of seeing «in person» artworks that in reproduction appear flat and graphic in a way that stays fixed at the level of an image with no scale so that when looking at the images most people, particularly those brought up entirely within the regime of Instagram would not see why they should see the works and, further, might not be able to see the work when in front of it because many people now see exclusively through the lens of their smart phone.

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