Not exact matches
David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using
framing markers and calculatingly phony distancing devices (like, for example, the black - and -
white process shots in Pulp Fiction), «Tarantino
draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.
Mirror Image Art Have your students
draw and cut handheld mirror shapes from colored posterboard, then cut
white circles to fit these
frames.
Then, on the next
frame, all valid targets that are on screen are
drawn all
white as the rest of the screen remains black.
I
draw the detail of the windows, curtains, and shutters, and I indicate where I will leave or «preserve» areas of
white a paper to indicate light falling onto the window
frame.
Some of those I'd been most
drawn to appeared reduced, hardened and flattened, a little too obvious: the 1973 expanse of
white Enamelac on an aluminium base that shows in a thin line down the left - hand side and along the bottom; a row of square pieces from the same year, their fat L - shapes of black (oxidised copper, apparently) set off by smaller
white baked - enamel squares; and 1985's Catalyst III, with its steel bolts and thin, intermittent lines of black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete
frame.
Both the interior and exterior walls will be painted black, and his red -
framed drawings will be exhibited with a
white band surrounding them.
black - pained gallery walls and
white window
frames act as a canvas for the bike «
drawings» etched onto the interior surroundings as though the faux - vehicle has been ridden on the walls.
This evening seeks not only to
draw out parallels and overlaps between the spaces of performance in the visual and performing arts — the somewhat outdated concepts of the
white cube and the black box — but also to question the increasing role of performance art in museums today and how architecture
frames and determines it.
Original
drawing by Lauren Rinaldi float mounted in the pictured simple
white frame measuring 17in x 14in.
(born 1930, Nashville, Tennessee, USA) in works such as Ledger (1982) bring the word «constructed» to mind, with attention
drawn to supports,
framing, and the artist's signature as important elements of works which are usually
white, or off -
white, and in square format.
This welcome shift away from
white - cubism continued at Sadie Coles, where all - around, red wallpaper by the late Angus Fairhurst
framed both
drawings by the artist and one of his mirror - gazing gorilla bronzes.
Of course, there were many thematic and visual references to poverty and exclusion that were
framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist
frame with multicoloured rags of Arte Poveraat
White Cube, for example; or in a an arresting display of Sadie Benning's «
drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness
framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadia.
4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool
white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 i
white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball
Drawing), 2006/7 Dirt on paper, wood
frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (
White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 i
White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with
white color 32 1/4 x 32 1/4 x 2 3/4 i
white color 32 1/4 x 32 1/4 x 2 3/4 inches
Installation view Murray
White Room, 2014 9 inkjet prints on paper, polychrome
frames and synthetic polymer wall
drawing, 295 x 500 cm
Perfectly formed milky
white miniature female naked sculptures provocatively exuding flowers from between their legs, together with
drawings framed in traditional Persian miniature albums, Sokhanvari's multi-legged stiletto and suspendered swastika mandalas; a Murakami-esque milk sprouting madonna and an erotic Egon Schiele figure sandwiched incongruously between a 16th Century Persian nightingale and the monolith (from 2001: A Space Odyssey) take us on a journey from the sublime to the ridiculous.
This
drawing series is the exhibition's garish centerpiece, with captions in acrylics below each
frame narrating the superhero's theft of tofu from the bony, bone -
white, repulsively awkward beings known as the Vegans.
The resulting
drawing led to a highly abstracted picture consisting of two canvases, one reversed and the other painted
white, inside a black
frame.
The unit's
white frame also makes it a focal point in the space,
drawing the eye toward the many vintage finds on display.
But every fall picture that I was
drawn to on Pinterest or other blogs had
white chunky mirrors or
frames and lots of
white accents and I knew what exactly what I wanted (and it was free!)