Sentences with phrase «states than photographs»

He tested how people reacted to images of natural and urban settings, and concluded that natural views had more positive influences on psycho - physiological states than photographs of cities.

Not exact matches

It's deadly because it's so much stronger than heroin, as shown by the photograph above, which was taken at the New Hampshire State Police Forensic Laboratory.

Less than three weeks later, state television aired grainy photographs of Ncube in bed with what was alleged to be a married woman.

The statement said less than 24 hours after the display of the photographs and the claim to have set up the camp, there are no traces of any camp at the Freedom Park Osogbo or anywhere in the state capital.

The then minister of state was photographed by the Mirror throwing out more than 100 papers in St James's Park bin.

Cuomo loves his Corvette and is more likely to be photographed in the state helicopter than underground during rush hour.

Research at Oregon State University suggests that photographs of your food are good for a lot more than just entertaining your friends on social media — those pictures might help improve your health and also national nutrition policy.

The artists included in this exhibition use cameras rather than pens, creating photographs that speak to what they see in the United States today.

Primarily a collection of drawings, the Vogels» collection also includes paintings, sculptures, photographs, and prints by more than 170 contemporary artists, mainly working in the United States.

Co-curated by acclaimed novelist Colm Tóibín and Declan Kiely, head of the Morgan's Department of Literary and Historical Manuscripts, the exhibition includes a rich and eclectic selection of more than fifty paintings, drawings, watercolors, sculptures, photographs, manuscripts, letters, and printed books from two dozen museums and private collections in the United States, Great Britain, and Ireland.

The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection — comprising more than 19,000 paintings, sculptures, drawings, prints, photographs, films, videos, and new media by more than 2,900 artists — contains some of the most significant and exciting work created by artists in the United States during the twentieth and twenty - first centuries.

The Foundation holds the largest and foremost collection of works of contemporary African - American artists from the Southern United States, encompassing over 1,200 works by more than 160 artists as well as a collection of archival photographs, videos and documents relating to artists in the collection.

The Foundation holds the largest and foremost collection of works of contemporary African American artists from the Southern United States, encompassing over 1,200 works by more than 160 artists, as well as a collection of archival photographs, videos, and documents relating to the artists in the collection.

As the photograph was shot in black - and - white, Bennett always assumed the car was white, but later discovered it was yellow, when Didion publicly stated, «The Stingray was Daytona Yellow, which was a yellow so bright you could never mistake it for anything other than Daytona Yellow.»

Drawn from major public and private collections in the United States, the paintings are accompanied by more than one hundred beautifully fluid studies in various media: drawings, oil sketches, sculptures, digital composites, photographs, and prints — many never previously seen by the public.

The exhibition features American artists for whom Blake was an important inspiration and includes more than 130 paintings, prints, drawings, photographs, films, and posters, as well as original Blake prints and illuminated books from collections throughout the United States.

The exhibition will feature American artists for whom Blake was an important inspiration and will include more than 130 paintings, prints, drawings, photographs, films, and posters, as well as original Blake prints and illuminated books from collections throughout the United States.

Primarily a collection of drawings, the 2,500 Vogel donations also include paintings, sculptures, photographs, and prints by more than 170 contemporary artists, mainly working in the United States.

«Paint the Revolution: Mexican Modernism, 1910 — 1950,» running through January 8, is the most comprehensive show of Mexican modernism in the United States in more than 70 years and features a wide range of murals, paintings, prints, photographs, books and broadsheets.

She taught for more than a decade at the State University of New York and counted among her pupils Gregory Crewdson, who also became known for his elaborately staged photographs.

In recent years, a series of grants from the New York State Council for the Arts has facilitated digital documentation and improved storage for the more than 2000 paintings, prints, photographs, sculptures, and crafts in the collection.

Today, the foundation, which was founded by William S. Arnett, holds the largest and foremost collection of works of contemporary African - American artists from the southern United States, encompassing over 1,200 works by more than 160 artists as well as a collection of archival photographs, videos and documents relating to artists in the collection.

The artist's first solo exhibition in the United States, Natural Stories brings together more than 100 photographs and two video installations spanning Hatakeyama's entire career.

It was less than a year ago that the contemporary art world — and the artist Richard Prince in particular — declared a victory for appropriation when the United States Court of Appeals for the Second Circuit ruled that Mr. Prince's use of photographs by Patrick Cariou in his own paintings and collages were permissible under fair use, because they had «a different character» from Mr. Cariou's work.

More than 500 individuals from 26 states and abroad also contributed to the campaign 83.36.24a - d © 2009 Calder Foundation, New York / Artists Rights Society (ARS), New York; photograph © Whitney Museum of American Art

I'm not sure how I neglected to photograph the space between closing on the home & moving in, but it may have been that the day of closing I was more in the walk away state of mind than moving forward.