Sentences with phrase «white film photographs»

Inspired by classic group portraits throughout art history, she has taken black - and - white film photographs of the artistic crowd inhabiting Bushwick today, which will be exhibited alongside her photos of early Bushwick and Panero's writings on the neighborhood.

The glass walled bathroom swathed in soft sheer curtains is a unique feature accentuated by a black and white film photograph.

Not exact matches

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Funny, insightful, beautifully scored and photographed (Black & white has never looked so good since Woody Allen's «Manhattan») there is a dreamy feel to the whole film.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

This is actually one of the most well - photographed black and white films I think I've ever seen.

His latest film, which photographs New York in Manhattan-esque black - and - white postcards, focuses on the innocently homoerotic friendship between two straight and single best friends and their uneven transition to adulthood.

Exquisitely photographed in black and white and as painfully hilarious as anything C.K.'s done, the tangled satirical meta - politics of the film are bound to eclipse everything else about it.

Directed by Liza Johnson and starring Kevin Spacey and Michael Shannon, the film imagines the comical details behind The King's famous photograph with President Nixon after he showed up at the White House in 1970 seeking to be deputised by Nixon into the Bureau of Narcotics and Dangerous Drugs.

The smudgy, dark lighting and the look of hand - painted black and white photographs gives the film a retro feel reminiscent of old Hollywood classics.

The exposed film is then developed chemically (similar to developing the negative of a black and white photograph) or digitally to get an image that is recognizable.

The brain is slow to respond to the formal information in colour, it gets pretty well all it needs from tone and drawing (we all know where we are with black and white photographs, films, or television).

Off Beat presents photographs taken in New York City in 2008 and 2009, when A-chan began working with black and white film.

The exhibition features the U.S. premiere of his most recent film, «Moving Mountains,» a 46 - minute, black - and - white film, as well as photographs from the film set, drawings and props.

The exhibition will feature historic and recent prints of black - and - white and color photographs, books, periodicals, films, portfolios and digital works, including many that have never been published or exhibited, from his Conceptual projects, the American Surfaces and Uncommon Places series, his landscapes of the 1980s, commissions and his recent explorations of Israel and Ukraine.

Tuft initially set out on her trip to Utah to photograph from the air Robert Smithson's seminal work, Spiral Jetty, using black and white infrared film.

From early black - and - white photographs in which she poses as a Hitchcock heroine in unresolved scenes from films we almost recognise, to later works that more violently transfigure her features with monster makeup, Sherman evokes the tales that shape who people become.

In a static, silent, black - and - white style, with neither narration nor action, these filmed faces evoke photographs, and their tight, close - up composition and formal pose derive from early photo booth portraits made by Warhol in 1963, which are also on view.

The artist then cut and painted directly on the negatives, resulting in photographs that have the appearance of a faded black - and - white film.

Anton Corbijn is a Dutch photographer, music video director, and film director, best known for his black and white photographs of actors, musicians and artists.

Continuing the exhibition, Jonathan Monk will present three artworks: Laser VII, a laser text projection (after Bruce Nauman), Hand - held Sky, a 16 mm film loop, and The Burden, two black and white photographs held to the wall by diamond earrings.

The black - and - white photographs seem immediately recognizable, and we easily understand them as scenes from some well - known film.

This year's film pieces, incorporating many scraps of older films and documentaries, blurred images of black and white photographs, jerky animations and shaky sequences filmed under water, add up to almost two hours of screen time.

Over time, my production has evolved from black and white photographic portraits and narrative videos to creating hybrid «sites», images and installations employing photographs, videos and film, archives and found materials, projected sounds and reflective surfaces, works focusing on the individual's role in history and in time.

Comfortably filling the spacious, irregular proportions of the center's main gallery, the installation is composed of three distinct elements: freestanding abstract sculptures; color photographs of the artist's hands (palms out and partially covered in paint); and black - and - white videos appropriated from vintage films of competitive stone lifters (which is where the pun comes in).

Mixing artifact with mythology, and history with invention, the project's wide - ranging material includes a 45 - minute film and still photographs from the forests of Oregon, to St. Petersburg and the White Sea in Russia; sculptures; topological maps; and site - specific framed works.

Furthermore, Cruz - Diez's analysis of the transformative possibilities of color is deeply rooted in his particular interest in mechanical reproduction, as is evident in his study of the technical processes of the Polaroid photograph, film, and black - and - white photography.

Her chance - based experiments include photographing her drawings juxtaposed over a television screen, as well as creating Free, White, and 21 (1980), a performance for film based on her personal experiences of racism.

Inspired by the work of Chris Marker, who directed the radical 1962 film «La Jetée,» which consisted of a cinematic sequence of still images, Opie's 22 - minute film is composed of more than 800 black - and - white images and stars Stosh, a friend who has appeared in many of her photographs.

Over 90 black and white photographs taken by Ute Klophaus, documenting eleven of the artist's «Aktion» works, will be shown alongside four of these iconic happenings on film.

Each of the small scale images is a black and white photograph staged and developed, to look like a still from a noir film of the 50s or 60s.

Shot on grainy black and white film, the visual qualities of The Girl Chewing Gum relate nicely to the graphic, high - contrast, typographically - oriented photographs of Shannon Ebner, despite being exhibited at venues in different neighborhoods in Berlin.

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

‖ Photographed at The Factory (Warhol's studio in New York City from 1962 to 1968) on 16 mm black - and - white film stock at the standard sound speed of 24 frames per second (fps), the portraits were intended to be projected at 16 fps, the speed of earlier silent films.

Alongside the series of A4 - size pages adorned with photographs and typewritten texts used by Kovanda to document his ephemeral actions, the walls of the gallery are covered with black - and - white photocopies of film stills, newspaper images, and artworks by Roman Signer, Marcel Duchamp, Chris Burden, and Vito Acconci, among many others.

These include chance - based photographs of drawings juxtaposed over a television screen, the 1980 work titled Free, White and 21 and a performance for film based on her personal experiences of racism.

35 mm slide film photograph c print mounted framed in custom white wood uv protective non reflective glass one of a kind from past exhibition shows little to no wear from being exhibited

Installed in the middle of the Yokohama Museum of Art, Michael Landy's massive Art Bin (2014) was the exhibition centerpiece — matched in scale and exuberance by installations such as Miwa Yanagi's mobile stage truck, which provided a site for gravity - defying pole dancing performances, and Shinro Ohtake's wheeled shed assembled from scrap materials and photographs — but many of the other works were distinguished by intimate reserve, apparent, for example, in René Magritte's small, black - and - white photographs from the portfolio «The Fidelity of Images» (1935), and Melvin Moti's film No Show (2004), depicting an empty Hermitage Museum through a single image accompanied by a voice track.

Using a large - format 8 x 10 — inch camera and black - and - white film, he has photographed Boston's changing landscape, porch life in the rural South, sick or dying people, and his own family.