The three films present footage of the artist's «Happenings» interspersed with
still images of her paintings.
Here are actual
still images of the paintings by the legendary Los Angeles artist.
Not exact matches
Pictures
painted on the walls
of my womb began to emerge» (The Mother's Songs:
Images of God the Mother [Paulist Press, 1986], p. 67) She discovered the Great Mother in the awesome beauty
of the desert, brooding over a world
still in the process
of being born.
Thousands
of still images tell the story
of a week when the local community and artist Ross Wilson
painted over a paramilitary gunman and replaced it with «A Portrait
of a King» - a mural
of King William III.
Some
of the superheroes who will be introduced to the viewing audience include Peter Petrelli, an almost 30 - something male nurse who suspects he might be able to fly, Isaac Mendez, a 28 - year - old junkie who has the ability to
paint images of the future when he is high, Niki Sanders, a 33 - year - old Las Vegas showgirl who begins seeing strange things in mirrors, Hiro Nakamura, a 24 - year - old Japanese comic - book geek who literally makes time stand
still, D.L. Hawkins, a 31 - year - old inmate who can walk through walls, Matt Parkman, a beat cop who can hear other people's thoughts, and Claire Bennet, a 17 - year - old cheerleader who defies death at every turn.
A Scrapbook holds
stills by set photographer James Hamilton (61
images), the art
of Miguel Calderón (5
images) that decorates Eli's home, Eric Chase Anderson's
paintings of Margot by Richie (11), pages
of Wes Anderson's annotated script with storyboards (8), Eric Chase Anderson's bedroom murals (15), and fake publication covers created for the film (8).
At the heart
of why «Loving Vincent» stops short
of satisfying is in the strange middle ground between
still painting and moving
image.
Part
of this is it's
still been so long since I've
painted, and part
of it is that until I finally see it in one piece as a cover, with all the typography and everything, I won't really know if the
image I have in mind will actually work as a cover or if it's too busy.
This resplendent monograph, which accompanies the exhibition yet is intended to endure long beyond it, reveals both the overt themes and the more ambiguous substructures
of Otero's oeuvre to date, from his early
still lifes and famous «skins» —
paintings made
of fragments and scraps
of oil
paint culled from previously
painted images — to his more recent «transfers» and innovative sculptural work in porcelain and steel or iron.
Long after Pop, long even after the New
Image painters
of the 1970s and 1980s, abstract art
still has a way
of standing for
painting.
Please take a look at his website for
images of his landscape and
still - life
paintings.
Rodriguez's
still image suggests a mix
of an interstellar explosion and a colorful Claude Monet
painting.
The 82 - year - old painter, who has lived most
of his life in northern France near the Belgian border, has pursued his distinctive if somewhat conservative
painting style for at least three decades, working for months and sometimes years on canvases whose
paint surfaces are so obsessively thick that their
images — mostly nudes, heads and
still lifes — are virtually obliterated.
As a result
of this particular history, photographic
images still bear a strong aesthetic kinship with western
painting.
Ryan
painted distinctive
images that look like
stills from old Westerns movies — their colors and cropping have a cinematic feel and a strong sense
of unfolding narrative.
I KILLED KENNY also debuts a series
of paint - splattered collages, in which historic
images of Abraham Lincoln are overlaid with portraits
of iconic Hollywood celebrities, contemporary artists, and legendary American boxers — Robert DeNiro in «Raging Bull,» Gena Rowlands in «Gloria,» Christopher Wool in his studio, and publicity
stills of Muhammad Ali.
Some
of Lichenstein's greatest works evolved from imagery drawn from popular culture: advertising
images, war - time comics, and pin - up portraits, as well as traditional
painting genres such as landscapes,
still lifes, and interiors.
Every single one
of the
images in this book — most
of which are portraits, though there are some excellent
still lifes, cityscapes, and street scenes, as well — jump out at the viewer as though they were
painted last week.
Dazzling the eyes and intriguing the mind, the Philadelphia Museum
of Art presents two centuries» worth
of American
still - life
paintings and sculptures, from John James Audubon's
images of birds and mammals to Andy Warhol's Brillo boxes.
So, although Bradford's assemblages initially seem to socialize with abstract
painting, I
still can't help but come back to Mondrian's trees: a form
of image - making that is grounded in concrete realities.
Other highlights
of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields
of color; Figure Drawings from 1988 - 2008, featuring an installation
of 40 framed
images of the human figure; Objects
of Desire from 1983 - 1989, where she made collages
of found photographs and rephotographed them against bright background
of red, blue, green, yellow, and black; Renaissance
Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text
Paintings from 1991, featuring individual figures and objects from disparate Renaissance
paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text
paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found
images to creating stylized arrangements for the camera;
Stills from 1980, where the artist compiled and re-photographed over 70 clippings
of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many
of her techniques utilized over the course
of her career; and Modern History from 1979, in which she has re-photographed the front page
of the newspaper with the text redacted.
Studying their
paintings in museums, he started from digitally manipulated photographs and through his characteristic approach created
images that allow recognition
of the original artwork, but
still making visible details
of the complex surface, the tactility
of the
paint, the brushstrokes and the pattern
of the canvas.
Each minute
of video consists
of close to 2,500
still images quickly
painted sequentially on a single piece
of wood for a camera to record frame by frame.
Lukacs's
images of skinheads in the 1980s proved that
painting still had the power to incite controversy.
Yet none
of these
images focuses on the symbolic generality
of a social, economic and political system with such incisiveness and clarity as the
Still Life 1976
paintings.
His
paintings of nudes, skulls, and
still - lifes, along with
images of centaurs and muses, place Lüpertz among such diverse artists as Nicolas Poussin, Pierre Puvis de Chavannes, and Hans von Marées as he continues to reinvent classicism and engage with tradition.
His outdoor works, all
painted en plein air, have an unnerving immediacy, while his
still lifes are populated by the recurring
image of an orange packing crate.
Choosing
images generally experienced through second hand sources
of information, Kahrs infuses his
paintings and drawings with the drama
of film, creating a sense
of constant motion and closeness within a
still and fragmented plane.
(Though I
still think the idea of stretching the mandate that no other artist's work be shown in the Clyfford Still Museum by showing the threads between Still and Van Gogh in images accessible via iPad, rather than physical Van Gogh paintings sharing the galleries, doesn't w
still think the idea
of stretching the mandate that no other artist's work be shown in the Clyfford
Still Museum by showing the threads between Still and Van Gogh in images accessible via iPad, rather than physical Van Gogh paintings sharing the galleries, doesn't w
Still Museum by showing the threads between
Still and Van Gogh in images accessible via iPad, rather than physical Van Gogh paintings sharing the galleries, doesn't w
Still and Van Gogh in
images accessible via iPad, rather than physical Van Gogh
paintings sharing the galleries, doesn't work.)
As much as Rauschenberg's work
of the early 1950s had been championed for its elimination
of painterly conventions — no subject, no
image, no taste, no object, no beauty, no message — Untitled [glossy black
painting] makes the case that Rauschenberg was equally radical for what he was willing to let in — chance, duration, changing context, accidents, a life in the present.18 Historians tell us about the Rauschenberg who pursued a mode
of creativity that had «a life beyond its initial conception,» but it is not always possible to observe the process
of accretion.19 In 1986, Untitled [glossy black
painting] would appear on the cover
of Arts Magazine, its identity photographically
stilled.20 That was part
of the history
of this single canvas.
Often playing with
images and materials associated with beauty and desire, Hamilton repeatedly uses sculptural cut - outs
of film
stills or women's legs made from transparent plastic and wooden shapes based on Modernist depictions
of female nudes such as the curvy abstracted figure found in her 2007 piece The Piano Lesson, based on Fernand Léger's 1921
painting Le Grand Déjeuner.
I try to intensify this optical ambiguity by collapsing the original altarpiece
image on itself, multiplying its perspectives, disrupting the conclusive visual array
of the original
painting and replacing it with one that is
still unfolding.
Trained in East Germany in the classical art
of realist
painting, Richter's
images have the quiet stillness
of European masterworks, taking in genres such as the
still life, landscape and portraiture, but
of contemporary subjects that are often rendered like a slightly out
of focus photograph.
Bringing together
still and moving
images, objects and iconic works
of art, The Western: An Epic in Art and Film will be the first exhibition to consider The Western and its attendant myths in the context
of approximately 160
paintings, photography, prose and film from the mid-1800s to the present.
This
painting — PH - 191, 1951 (seen below, on the left)-- had always impressed me, as it seemed to be a strong, singular embodiment
of the «classic» vertical
image that
Still had perfected in the early 1950s.
Although best known for his portraits and
still lifes executed with oil
paint, pastels, watercolor and ink, Sullivan is also a photographer who has been capturing
images of life in New York, and
of his own family and friends, since his teenage years.
Other Warhol source
images a photograph
of an electric chair that inspired «Triple Silver Disaster,» which he created in 1963, when he was transitioning from hand -
painted to mechanically reproduced pop, and a publicity
still from the 1953 Marilyn Monroe film noir «Niagara,» cropped tightly and used to create his iconic «Marilyn» prints.
-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A
still - anonymous group
of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV
painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain
of «Dallas» but the
still - incognito street artist
of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King
of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed
of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations
of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings
of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter
of odd
image - and - word combinations who was invented by a
still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators
of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group
of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos
Ashbery wrote an essential critical essay on Freilicher, published in 1986, that includes a brilliant reading
of The
Painting Table (1954), a
still life he owned and used for a cover
image of a collection
of art essays which is one
of the touchstones
of the Parrish show.
To inaugurate Galerie Lelong's fall season, multidisciplinary artist Jane Hammond will present her latest body
of work, the «dazzle
paintings» — a stunning combination
of painting and photography in which the artist infuses the
still image with a sense
of flow, interactivity, and mutability.
In the new works, Sarmento combines his seminal portraits
of the female form with
images taken from popular culture (found and personal material) silk - screened directly onto the surface
of the
paintings, that read almost like fragmented film
stills.
Curators Yves Aupetitallot and Alessandra Galasso have assembled artists they see as turning to
painting and photography as a way
of fighting the «impasse
of the
still image.»
David Claerbout's
paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze
paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations
of the physical act
of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations
of classical
paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze
paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural
paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze
paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed
Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze
Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands
of lines
of stamped text into singular abstract
images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil
paintings reimagine the still life as a chance freeze
paintings reimagine the
still life as a chance freeze - frame.
Each
painting contains a central object that acts to «trigger collective memory» and which builds a psychology within the
image that makes it distantly familiar, yet
still out
of place.
CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College
of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The
Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University
of Tennessee, Murray Territory
of Abstraction, Pentimenti Gallery, Philadelphia, PA Out
of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals
of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals
of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum
of Art, Greensboro, NC (brochure) Islands
of Order in a Sea
of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating
Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum
of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance
of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating
Images / General Public, Berlin, DE; Fluctuating
Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum
of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule
of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute
of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out
of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year
of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University
of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue)
Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University
of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum
of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.
Sometimes Wood also experiments with the idea
of collage, superimposing objects over others or simply playing with the distortion
of images by creating the illusion
of separate or fragmented
painted canvas surfaces brought together in one, such as in
Still Life Collage, 2015.
The
image nearby shows me standing in front
of two acrylic
paintings that are
still placed on the floor, waiting to be hung on the wall.
Namuth's photographs and films
of Pollock
still stand among the most important documents showing an artist in his studio and continue to influence artists as diverse as Richard Serra (whose molten - lead sculptures from the late»60s transpose the drip
paintings into three dimensions) and Vik Muniz (who appropriated one
of the
images for a
painting in chocolate).
Another artist in the show, Jennifer Steinkamp, makes large - scale videos — moving pictures
of still images or
still images of moving objects — that might best be understood as projected
paintings.
VARA provides its protection only to
paintings, drawings, prints, sculptures and
still photographic
images in single copies or limited editions
of 200 or fewer copies that are for exhibition only and that the author has signed and numbered.