Sentences with phrase «white art direction»

White Night's stylish black - and - white art direction plays pivotally into its underlying... Read More»

He lost to Billy Wilder for The Apartment, which also beat Psycho for Best Black and White Art Direction.

«The Picture of Dorian Gray» (1945) Best Cinematography, Black - and - White: Harry Stradling Sr. * Also nominated for Best Supporting Actress (Angela Lansbury) and Best Black - and - White Art Direction (Cedric Gibbons, Hans Peters, Edwin B. Willis, John Bonar, and Hugh Hunt).

«On The Waterfront» also won Best Picture, Best Actor (Marlon Brando), Black - and - White Art Direction - Set Decoration, (Richard Day), Black - and - White Cinematography (Boris Kaufman), Directing (Elia Kazan), Film Editing (Gene Milford), and Writing — Story and Screenplay (Budd Schulberg).

Not exact matches

Spielberg's passionate direction always hits the right note, from the gorgeous black & white photography to the impressive art direction, cinematography and what might be John Williams» most moving score.

Seven Academy Award nominations for Best Supporting Actress, Agnes Moorehead; Best Cinematography; Best Art Direction and Set Decoration, Black - and - White; Best Costume Design, Black - and - White; Best Film Editing; Best Music Score; and Best Song.

«Gaslight» (1944) Best Actress: Ingrid Bergman Best Art Direction (Black - and - White): Cedric Gibbons, William Ferrari, Edwin B. Willis, and Paul Huldschinsky * Also nominated for Best Picture, Best Actor (Charles Boyer), Best Supporting Actress (Angela Lansbury), Best Adapted Screenplay (John L. Balderston, Walter Reisch, and John Van Druten) and Best Black - and - White Cinematography (Joseph Ruttenberg).

Best Picture: The Artist (Thomas Langmann, Producer) Actor in a Leading Role: Jean Dujardin (The Artist) Actress in a Leading Role: Viola Davis (The Help) Actor in a Supporting Role: Christopher Plummer (Beginners) Actress in a Supporting Role: Berenice Bejo (The Artist) Animated Feature Film: Rango (Gore Verbinski) Cinematography: The Tree of Life (Emmanuel Lubezki) Art Direction: War Horse (Rick Carter, Lee Sandales) Costume Design: Hugo (Sandy Powell) Directing: Michael Hazanavicious (The Artist) Documentary Feature: Hell and Back Again (Dafung Dennis & Mike Lerner) Documentary Short: Saving Face (Daniel Junge & Sharmeen Obaid - Chinoy) Film Editing: The Descendants (Kevin Tent) Foreign Language Film: A Separation (Iran)(Asghar Farhadi) Makeup: The Iron Lady (Mark Coulier & J. Roy Helland) Music (Original Score): The Artist (Ludovic Bource) Music (Original Song): «Man or Muppet» From The Muppets (Bret McKenzie) Short Film (Animated): La Luna (Enrico Casarosa) Short Film (Live): Raju (Max Zahle & Stefan Gieren) Sound Editing: The Girl With the Dragon Tattoo (Ren Klyce) Sound Mixing: The Girl With the Dragon Tattoo (David Parker, Michael Semanick, Ren Klyce & Bo Persson) Visual Effects: Rise of the Planet of the Apes (Joe Letteri, Dan Lemmon, R. Christopher White & Daniel Barrett) Writing (Adapted Screenplay): The Descendants (Alexander Payne, Nat Faxon & Jim Rash) Writing (Original Screenplay): Midnight in Paris (Woody Allen)

While Black Panther makes no great leap forward from the tried and true (or tired and true, depending on your threshold for repetition) superhero movie story arc, what this category of films lack in plot originality, Black Panther makes up for in casting, art direction, costume design, and writing (the sharp yet casual one - liners calling out colonialism, white privilege, and the American superiority complex both zing and sting — as they should).

Work is already well under way for the Year 5 pupils under the direction of the school's Head of Art and Design, Jenny White.

At New Directions Secondary School in the Bronx, which took on at least one ATR teacher, 100 percent of students are economically - disadvantaged; 29 percent are Black, 67 percent are Hispanic, 0 percent are white; two percent tested proficient in English Language Arts and one percent tested proficient in math.

Ni No Kuni: Wrath of the White Witch has too much in the way of problems to be one of the classics of the genre, though with its outstanding art direction, voluminous lifespan and absorbing mechanics, it narrowly misses out on being such, and also has the advantage of possessing some of the magic that has been lacking in many of the more contemporary Japanese RPG's.

Contemporary directions — earthworks, conceptual art, art as information, etc. — certainly point away from emphasis on the individual genius and his salable products; in art history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World, New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of Aart, art as information, etc. — certainly point away from emphasis on the individual genius and his salable products; in art history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World, New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of Aart as information, etc. — certainly point away from emphasis on the individual genius and his salable products; in art history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World, New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of Aart history, Harrison C. and Cynthia A. White's Canvases and Careers: Institutional Change in the French Painting World, New York, 1965, opens up a fruitful new direction of investigation, as did Nikolaus Pevsner's pioneering Academies of ArtArt.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

The Painterly Print The Metropolitan Museum of Art New York, NY American Drawings in Black and White: 1970 - 1980 The Brooklyn Museum Brooklyn, NY Aspects of the 1970's: Directions in Realism Danforth Museum Framingham, MA Three Decades DeCordova Museum Lincoln, MA Realist Works on Paper Virginia Museum of Fine Arts Richmond, VA

Pivotal to the artist's oeuvre was his shift in 1960 to the employment of white monochrome surfaces and geometric, grid - based compositions, represented in the exhibition by works including Relief, 1964; 48 Squares, 1965; 2 Richtingen Om en Om (2 Directions On and On), 1967; as well as R70 - 28, 1970 (collection of The Museum of Modern Art, New York).

Within Somewhere Between Black and White, all of the works have ties to the fiber arts, whether it is the materiality or the methodologies, while proposing new directions and hybrids that represent the interdisciplinary nature of a contemporary craft practice.

An envelope of black and white installation shots of «Barry Flanagan - A Visual Invitation: sculpture 1967 - 1987» at the Museum of Modern Art, Belgrade, Serbia, black and white installation shots of «Art» 92» at the Business Design Centre, Islington, UK (1992), black and white photograph of Young Elephant, 1985 of the Pace Gallery, New York, USA, black and white installation shots of «The British Art Show: Old Allegiances and New Directions 1979 - 1984» at the Royal Scottish Academy, Edinburgh, UK (1985), black and white installation shots by Al Mozell of «Barry Flanagan.

, 1985 of the Pace Gallery, New York, USA, black and white installation shots of «The British Art Show: Old Allegiances and New Directions 1979 - 1984» at the Royal Scottish Academy, Edinburgh, UK (1985), black and white installation shots by Al Mozell of «Barry Flanagan.

Horse., ICA, London (2009); Whitney Biennial, Whitney Museum of American Art, New York (2008); 50 Moons of Saturn, T2 Torino Trienniale, curated by Daniel Birnbaum, Turin (2008); Acquisitions, Gifts, and Works from Various Exhibitions 1985 - 2008, curated by Bob Nickas, White Columns, New York (2008); Multiplex: Directions in Art, 1970 to Now, curated by Deborah Wye, Museum of Modern Art, New York (2007).